Based in Fort Wayne, Indiana, Jonah Leatherman is a musician shouldering sonic inspiration from indie rock to early country music coupled with a deep and ardent appreciation for craft, not just in the realm of music but in other domains as well. Leatherman is releasing his single “Overlap” which is the first single from his upcoming album Ensuring My Uncertainty.

Opening with a cascade of gently plucked guitar chords, the song swiftly introduces additional elements that coalesce into a rich and immersive groove. As Leatherman's vocals enter the mix, his delivery exudes a soothing sense of ease and unwavering confidence. However, it is when the hook materializes that the true brilliance of his choice for a single becomes evident. Bursting forth with explosive energy, its infectious and unforgettable nature captivates listeners, leaving an indelible imprint on their minds. Its contagious catchiness ensures that this musical gem lingers long after the final note fades away.

The momentum continues to surge, fueled by an infusion of heightened energy emanating from a modest yet impactful lead guitar segment. Returning to its shoegaze-infused verse, the song promptly rekindles the captivating allure of its irresistible hook. As it nears its conclusion, the track ascends to new heights once more. A mesmerizing guitar, adorned with a distinctive effect reminiscent of a sitar, takes center stage. Joined by an additional guitar, the composition gracefully concludes, leaving listeners longing for more of its enchanting sonic tapestry.

​If this single is an indication of what to expect from his upcoming album there will be a lot of people talking about it. I encourage you to check out the video below which provides lyrics to the song.

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Kickstand Jenny is an alternative rock group composed of Preston Morelock,  Scott Foster Harris, Chris Mcomas and AJ Sipos. The band states they have inspiration coming from all genres of music, from Van Halen to Prince. The band has played  with a lot of different national acts including Slaughter, Living Colour, Sebastian Bach, L.A. Guns and LIT. 

Kickstand Jenny recently finished up on a concept album about the death and rebirth of a soul entitled Between The Lines. That sounds like pretty deep stuff but I found the music to be accessible and easy to appreciate. There are a lot of palatable rock songs here that you might find yourself playing on repeat.

The first song I listened to was “One More Day” which definitely had a bit of a '90s and ’80s rock vibe. Something about the palm muted guitar brought to mind Van Halen. The vocals however are delivered in a different way. I enjoyed the vocal performance right off the bat and was impressed by the range. I would say there’s a difference of at least two octaves between the verse and chorus. And what a chorus. It’s the kind of hook that is repeat worthy.

“Take Me Back To The Time” has some Americana flavor in there but with a more charged up rock flavor. The band goes two for two with creating memorable hooks. It’s a song that is full of nostalgia but not overly sentimental. I would say the energy felt quite motivational.

“Never Gonna Let You Go” with a slower BPM and felt more like a ballad. There’s some country flavor on this song. The vocals are again delivered very well. This is more reflective and introspective and ultimately a love song.

“Solo (Featuring Mark Slaughter)” was very cool. It’s got a heavier almost metal/grunge like quality. The vocals are intense and by this song it was evident one of the band's many strengths is the ability to write a killer hook. “Tonight” felt like a single amongst possible singles. The song is very energetic and just gives an adrenaline rush. It’s the perfect song to hear before a night out. I’m sure this would be quite a song live.

Despite the name ”Death Trap” was quite playful and fun, at least that’s how the tone felt. The lyrics however can be interpreted differently. I absolutely loved the cover they did of “Jumpin' Jack Flash.” What a wildly different version they made their own.

​I have to admit the concept of the album was hard to notice on the songs. There were plenty of topics but the whole death and rebirth ideas felt elusive. That being said, I loved the album. The production, delivery and songwriting came together to create a stellar album.

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Buck Shot offers a captivating troubadour experience, enchanting audiences with a blend of timeless classics, fresh compositions and original music from a bygone era. With a discography of four albums, all readily available on popular platforms such as Apple, Amazon, Pandora and Spotify, Buck Shot captivates listeners with his diverse musical repertoire. Having shared the stage with renowned national acts and headlining various festivals, Buck Shot has established a reputation as a dynamic performer. For over four decades, he has been immersed in the world of music, exploring different genres and formats. However, his unwavering mission has always been to spread joy and celebrate the magic of music and life. 

Buck Shot aka Steve Progar is a skilled guitarist proficient in both six and twelve string variations. Progar's musical journey began at the tender age of twelve when he defied his parents' wishes for him to play the accordion and instead pursued the guitar, inspired by the allure of Elvis and the Beatles. Throughout his extensive career, Progar has contributed his talents to numerous musical ensembles, including nationally recognized bands and opening acts for esteemed artists.

The first song I listened to was “A Long Time Ago” which was written for his mother before she passed. It's a beautiful song which comes together with acoustic instrumentation. The song sways back and forth. I liked the instrumentation but it’s really all about the vocals. Progar delivers a passionate and emotionally resonant performance that is filled to the brim with nostalgia.

"Restless Waters" is a solid song with its ethereal and tranquil essence. The subtle dissonance and desert-inspired vibes instantly resonated with me. This introspective piece explores intimacy while evoking a sense of isolation. Progar's recurring theme of longing for home adds a poignant depth to the song.

“Not A Happy Song” is somewhat ironically the happiest song so far. It has a light late ‘60s feel, not too far from a band like The Byrds. “Just A Little Country Song” is loose, fun and very catchy while “I’m The One (Who Wants To Be With You)” reminded me a bit of Roy Orbison. I also really enjoyed “But Most of All I Blame You).”

​Progar is one talented musician. These songs have a timeless quality to them that is undeniable. Take a listen.

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Alexandre Dallaire (drums/percussion/synths) and J.P. Fortin (guitars/synths) make up Origins, an instrumental rock duo from Quebec City, Canada. Formed all the way back in 2007, they’ve been experimenting over many years until the release of this brand new debut. Self-titled and entirely self-produced, Origins features seven striking compositions founded on simplicity and pleasure. The instrumentals offered on the debut are fairly diverse, but especially notable are the jazz and post-rock influences that all tracks borrow from. 

It’d be interesting to see what specific artists Origins were inspired by when making this. I feel like the vibe that Origins is going for is closest to that of Scottish instrumental rock behemoths Mogwai. I feel like this is one album where the cover perfectly matches the tone of all of its tracks. On the opening piece “Pure North,” the acoustic guitar flourishes and jazzy electric tones coalesce beautifully over crisp drum work. The shuffling percussion on the next track, “Peace in a Shell,” sounds like it’s coming from a phone for a few measures until it becomes clearer. Tambourines enter at two minutes in, and more smooth jazz-inflected guitars are laid down very skillfully.   

One of my favorites happens to be the third number, “White Birches.” It begins with a sweet acoustic progression and has tons of kinetic energy stored in the guitar solo midway through, with just the right amount of distortion. The cleaner guitar tones work wonders as well. Another real treat on the album is the wah-wah-drenched “Mr. Spector.” Like I’ve mentioned before, it prominently uses a wah-wah pedal to achieve that wavy ‘70s lounge fly effect. Of course, bass is an important part of Origins’ sound, too, and the bass provided by Aron Turcsanyi pays big dividends on “Mountains.” Sonically, this is the most interesting because of all the percussive clattering and deep, rich bass notes. I thought the guitar riff here was slightly darker, but it still fits the tranquil vibe, nonetheless.  

“Contact” sounds very spacey in comparison to the rest of the album. Perhaps that’s because of Buzz Aldrin’s famous “one small step for man” quote being sampled at the beginning, but the drum grooves as well as the heavier doses of guitar and synth riffs make this one feel interstellar, too. The band’s stab at amplifying the guitar presence and distortion on Origins’ closing track, “Horizon,” is a fruitful one. However, it is balanced with quieter, more serene atmospheres akin to post-rock act Hammock every so often. The swelling crescendos feel all the more massive, once again recalling post-rock. With that said, the wailing waves of funk guitars towards the end were a pleasant surprise.

​I wonder where Origins plan to go from here. This blend of post-rock atmospheres and jazz structures works extremely well, even without any lyrics! Origins is a cohesive and fun little LP that never overstays its welcome and stays engaging throughout. Overall, it is strongly recommended listening.

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Though I’m sure there are other artists tapping this musical vein (and don’t make me check!), I like to think that New Jersey composer-instrumentalist Robert Benaquista has invented his own unique genre: ambient horror. In the most reductive terms, his music is similar to what you might play to scare trick-or-treaters, but created with respect and reverence for the traditions that shaped this genre. You can reach back in time to Bach’s “Toccata and Fugue in D Minor” or forward to the organ theme from “The Ghost and Mr. Chicken.” You can even imagine yourself as a child holding down all the keys on an electric organ, or pounding the low keys on a grand piano with the pedals all the way down. Benaquista uses these ideas as starting points for his new and compelling electronic compositions. His latest album is titled RITUALS.

I first encountered Cucurbitophobia (which literally means “the fear of pumpkins”) with their Halloween release Autumnal Apparitions. I learned that the classically-trained Benaquista formed Cucurbitophobia in 2018 to create music that drew on his influences from contemporary horror film composers, visionaries of neoclassicism, expressionism, serialism, atonal, electronic, dark ambient, prog and avant-garde music. Among the film composers Benaquista cites as influences are John Carpenter, Igor Stravinsky, Bernard Hermann, Christopher Young, Tangerine Dream, Wendy Carlos, Jean-Michel Jarre and Brian Eno.

Thematically, Benaquista calls RITUALS “a collection of music that takes the listener on an adventurous, ambient journey through the depths of the mind and on a path of self-discovery: to contemplate the meaning of the universe, to introspect the trials and tribulations of one's own experiences and to purge all toxic thoughts and deterrents.” 

“Ritual I: Aurora” begins the album with a complex and darkly beautiful acoustic piano composition, with a steady background wall of synths that evoke those old, wonderful Mellotrons and Chamberlins. Though it would be easy to compare this track to horror movie soundtracks, the melodies are actually too sophisticated, with an equal share of beauty and dissonance. The actual theme isn’t easy to follow but it was thrilling for me when I sensed its reprise at the closing moments.

When I first heard “Ritual II: The Offering” I jotted down the phrase “Dreaded Moonlight Sonata” as it does superficially resemble the classic Beethoven composition. This one is all piano, and you can really bask (or wallow) in Benquista’s facility with the keys, along with his circuitous melodies. The second half concentrates more on single, repeating chords and actually flirts with romanticism. 

“Ritual III: The Purge” ups the musical ante considerably. Though again starting out with a somewhat dissonant piano theme at the center, the roiling background synths soon take on the proportions of a symphony orchestra in Dante’s Inferno. The middle section has a wonderfully minimalist structure, with just two plaintive piano cords ringing against a subsonic bed of synths. The conclusion brings back the orchestral synths for a dark and thrilling finale, like lullabies for Rosemary’s Baby.

“Ritual IV: Crepuscule” concludes the Ritual Suite with an organ-like wave of chords that has a churchly resonance, leading into melodies not unlike Tony Banks’ keyboard tracks for “The Lamb Lies Down On Broadway.” If a soul can be resurrected, this may be what it sounds like! This may be the track that fans of progressive music find the most accessible. 

The next section is a two-part dark ambient mood music suite titled “Summoning the Sleep Demon.” Benaquista explains that these tracks “portray a tale of one who incorporates self-induced hypnosis to evoke a sleep demon. Thinking it's all fun and games, the individual isn't aware of what kind of horror awaits when the unfriendly sleep demon unexpectedly arrives.” The 12-minute Part One is called “Crossing the Abyss.” It’s similar to what’s come before, except that Benaquista creates his opening melodies on the higher keys against his low, windy backgrounds, giving the composition the feel of chamber music. Here can be found some of his most beautiful piano motifs (while still rather scary). Part Two is called “The Abysmal Cometh” and most definitely depicts the drawn-out horror of facing a sleep demon and being unable to escape. The track features slowly alternating chords against a pad of otherworldly digital strings and indistinct, distant wailing. The music is relatively static compared to Part One, but there are some interesting, subtle variations around the middle section.

“Nebula of Unspeakable Darkness” is described by Benaquista as “an ambient dark synth track that paints a picture of the barren, eerie places of the vast universe; the places where no one has or will ever travel to from now until the end of time.” This composition is immediately more active than the previous suite, with marching, stomping percussion that suggests being pushed along by a crowd of orcs or demons. The melodies are quite dramatic and would fit perfectly on the big screen. 

“Illusion of a Withered Orchid” concludes this project with what Benaquista calls “a melancholy, pensive piano work with a sullen mood and a mournful quality with an underlying haunting aura.” For this one you can imagine Peanuts’ Schroeder playing for the gang on All Hallow’s Eve, but I don’t mean to diminish Benaquista’s playing technique and compositional skills, which are both extraordinary. The piano is inexorably surrounded by waves of dark, cloudy noise, which is especially effective in headphones. 

​Since I’ve heard Cucurbitophobia before, I wasn’t surprised by the amazing music in this album, but for newcomers who are open to horror-tinged music, there’s a real “treat” waiting for you!

Singer/songwriter Blaine Vogt has been the frontman of many bands, but he's currently pursuing a solo musical journey. And on My Lying Ghosts, he demonstrates that his musical talent is sufficiently multi-faceted to deliver what sounds like a full band effort. This ten-track alt-rock/folk offering opens with an electrifying self-titled track “My Lying Ghosts” that delivers a catchy earworm of an electric guitar riff -- I can still hear it in my head now. There's a classic country/folk essence to the guitar instrumentation, and Vogt's voice reminds me of classic pop/rock singers such as Cat Stevens. There's a silky-smooth quality to his vocals, and it pairs wonderfully with the laidback, upbeat instrumentation.

But that's only one side of Blaine Vogt, and the second track, "Out of Reach,” makes that abundantly clear. There's a Beatles-esque quality to the vibrant, upbeat electric guitar power chords and the punchy drum beat. Vogt's harmonized vocals are also intoxicating. The chorus, in particular, sticks in my head -- "Someone help me / Can you hear me? / I'm too far out of reach.” It's a roaring, uplifting, feel-good track, in spite of the lyrics seeming bleak. And then there's a track like "Look Like Me” which opens with sliding, smooth lead electric guitar. Clean electric guitar and tender, heartfelt singing dominate the verses, but it's really that lead guitar hook which makes the song. I do really enjoy the breakdown towards the end of the song -- the chord and vocal switch-up keeps the melody fresh, just when I thought the structure of the song might be fated to repeat tirelessly. Vogt has a way of taking chord progressions and turning them into something really unexpected and intriguing. Love this song.

​Of course, for me, rock music is my biggest passion. That's why songs like "Out of Reach" and "Nowhere to Run" are my favorites on the album. The latter has some absolutely scorching vocals from Vogt. After hearing his softer, delicate singing throughout the majority of the album, I was pleasantly surprised by this guttural, raucous outburst. Combine that with sizzling, distorted electric guitar riffs, and you've got "Nowhere to Run" -- an electrifying, fast-paced, rock banger. And it leads into "Too Many Souls,” the jovial, fun closer which felt like a complete curveball after the penultimate track's slightly moody, heavy energy. But again, Vogt always likes to keep listeners guesting on this record. That's what kept it enjoyable for me throughout. My Lying Ghosts was a great listen.

Matthew Dunn says this about his new release The Brutality of Beauty: “The challenge for this project was to use no electric guitar. Songs were written between February and May of this year. They started as stripped back acoustic demos before strings, synth and piano were added for texture. The lyrics came from a folder given to me by my brother (Jamie Dunn). His lyrics are great and really push my writing into different directions melodically.”

The album opens with an epic song entitled “Fishermen of Rhossili.” It starts off sort of intimate but once the rumbling toms come I had a feeling of where this was headed. What a way to open the album.

"Pebble Beach" exudes a delightful, lighthearted tone, brimming with positive and joyful vibes. The vocals radiate exuberance, especially when delivering lines like "Wind and snow and rain, covered in shame, Clear glass on eyes that gaze into emptiness." It possesses a distinct emotional quality that differs from the ballad "Cover the Scars," which emanates empowerment and evokes images of a cinematic credit roll. Among the standout tracks, "A Flawless Masterpiece" shines with its epic yet blissful energy, capturing my admiration.

There’s a good amount of space for the emotional resonance to breathe on “The Dying Wasp” which is a slow burn with some beautiful moments. The album continues to impress with “Casting Pearls” which has some really nice strumming patterns and a light and airy quality. “Flat Holm” felt very cerebral and mysterious while “State of Emergency” felt like a single worthy tune with memorable melodies. As the album progresses I felt like “Dog Amongst Fairies” and “Gelert” were some of the strongest songs.

​This album is solid from beginning to end. It resonates on a grand scale, both socially and emotionally, encompassing a wide spectrum of feelings. It has the power to ignite introspection, inspire action, and forge a deep connection. I highly recommend it.

BAkeR is led by M.J. Baker (vocals/bass/guitars and keyboards). Baker has contributed to both the New Zealand and Australian music industries and was even a member of the FLYING NUN band Not Really Anything. Baker continues to contribute to these scenes with his debut EP Eternal Now under the moniker BAkeR. Synths, keys, guitars and more are a hazy blend as the sound definitely recalls in my mind the ‘80s. Once Baker’s vocals came in, the music really came together for a great vibe. He sings with an assuredness as if he’s perfectly comfortable in front of the mic, belting out these tunes. 

Eternal Now opens up with “John,” where some synths and keys trickle in at the start of this track. Next, the guitars enter for a blitz of sounds. I enjoyed this dreamy approach that I thought sounded a lot like music from the ‘80s. After a long introduction, comes Baker’s vocals. His vocals were gritty and he sings with feeling on this track. The guitars also sounded great here. Baker’s sandpapery vocals flits and flows through this recording, making for an emotionally powerful listening experience. 

Some percolating beats enter the sounds here for a scintillating backbeat on “Happy As Larry Silverstein.” The rush of sound made for a compelling vibe. This was a nice change of pace from the previous track. Here the vibe was moodier. The guitars come in with a great rock vibe on “Stich In Time.” Next, the chill instrumentals made for a great sound. Baker’s vocals sound slightly off-key, but in a way, it made it sound like he was half-singing and half-spoken word, which proved to be a very interesting approach.

On “Star Bugz,” some more synths and beats roll in at the start of this song. Next, some guitars create a dreamy pop sound. Baker uses spoken word and I was reminded of John Mellencamp. The distorted vocals together with the scintillating synths and beats made for a great listen. Finger-picking on the electric guitar together with percussion made for an invigorating sound on “Crooked.” The synths came in for more of a dreamy vibes. Baker imbues tons of feeling into this track as he sends us off with this moving closer. 

​Baker’s sandpapery vocals together with the indie rock, pop rock and shoegaze-y music made for an interesting combination. At times he resembled Dylan if Dylan ever got into the dream pop genres. Awash in layers of hazy synths and a dream-like sound that definitely will leave you wanting to return to again and again, Baker definitely is on the cusp of something here. This proved to be a great introduction to his sounds and I can’t wait to hear more!

Lini Bono is a musician from New York who has been releasing music on Soundcloud and playing shows. I spent some time with a number of her songs which I thought were well written.

The first song I listened to was “Heart & Soul.” It starts with a very soft approach to the jazzy sound. You can clearly hear the ride, the smooth piano, bass and drums. I thought the mix sounded great right off the bat. There’s plenty of room for the vocals which shine on this song. I was impressed by the type of environment this song creates. Throughout the song I was feeling like I was in a jazz club. It's a great song overall and I was ready to listen to more.

“We Danced” was an interesting and inventive piano melody that circles around the warm and inviting vocals. You can hear a hi-hat come and the energy starts to pick up. This wasn’t a reference I was expecting to pick up but this song actually reminded me of Radiohead in a number of ways. Around the one-minute- and-forty-second mark the song quickly builds and then shoots back to concentrate on piano only to start and rock out again in a unique way. The main melody comes back but this time with a kick drum and orchestral elements. My only complaint is I wanted the song to go on a little longer than it did.

Last up is “Hypnotized” and this song has a groove but is also quite jazzy. It sounds like a song you would hear in a coffee shop on the lower east side of New York. It’s very lush and chill. Bono delivers the goods again on this song. She sounds confident but calm. Some of the lyrics are delivered in almost this spoken poetry type of way. That being said Bono also knows when to push. Additionally, there’s a sweet Santana-like sounding guitar solo. 

​I really enjoyed these songs. Even though it doesn't seem like they are part of an official EP or album I was able to get a good idea of her signature sound. I would consider her music to cross multiple genres with jazz perhaps being the most prevalent in the music. If you like what you hear there’s a live streaming event for all to watch. It’s scheduled for June 25 at Music Makers Studio.

According to the website from the artist, “Primate on a Planet is a reminder of who... what we are and where we are. We are a species of animal on a planet, a closed ecological system, spinning through an unimaginably vast, cold space. Our home is precious and we should protect it. Life is beautiful and rare and should be respected. People should be allowed to be themselves, as long as they aren't hurting others. Other animals and plants should be allowed to live and play their part in the system as much as possible. We shouldn't deplete our resources or pollute our environment. The system should not be allowed to break down.”

The artist recently released a five-song eponymous EP Primate on a Planet. Up first is “Disconnect” and a couple of things about this song reminded me of NIN. It’s a dynamic song combining synths, guitars, bass, drums and more. I enjoyed the vocals right off the bat which did sound a bit like Trent Reznor when he goes for the intimate and slightly sinister inflection on this verse. The hook is strong and catchy. Overall, it’s a solid opener.

Next in line is "Air Zen," a delightfully unconventional and experimental tune infused with a distinctive funkiness. The guitar patterns truly caught my attention with their originality, providing a refreshing and captivating experience. Additionally, the bongos added a pleasing touch, gradually building a groove reminiscent of the infectious rhythms that resonate with LCD Soundsystem's style. Overall, this song was a unique gem that left me thoroughly impressed and thoroughly entertained. 

Undoubtedly, the standout track is "Gun (Welcome to Johannesburg)," a mesmerizing composition enveloped in darkness and filled with captivating drones. What truly captured my admiration was the exceptional sound design, complemented by the hauntingly beautiful saxophone melodies. The juxtaposition between the two elements created a profoundly distinctive and compelling sonic experience. This song truly stood out as a testament to the artist's innovative approach and left a lasting impression on me.

"Super Stressed Out Man" exudes an ethereal quality, enhanced by its captivating spoken-word-like delivery. This alluring track amalgamates various original elements, resulting in an irresistible composition. The relatable lyrics strike a chord, as they encapsulate the universal experience of feeling overwhelmed, a sentiment shared by individuals at different junctures in life. This song truly resonates and serves as a reminder that such emotions are part of the human condition.

“To Be” is the closing song and my favorite groove on the album. The bass work is slick and I loved the vocal melodies as well. It’s smooth and builds with an undeniable energy as it progresses. 

​I really enjoyed this album from beginning to end. The songs felt fresh and novel. I look forward to hearing more in the not too distant future.