Some bands spend years narrowing their sound into something tightly defined. Smooth Retsina Glow seem more interested in widening the frame. On Incandescence, the group moves comfortably between styles, drawing from jazz, art rock, classic rock, and vintage pop while keeping the performances energetic and focused. Colin Wolf leads the songwriting and handles guitars, vocals, bass, keyboards, and percussion, while Quincy Wellen contributes to the arrangements and anchors the rhythm section on drums. Devin Wachter holds down the bass, and Sandra Warner brings a strong vocal presence that helps give the band an added dimension. Together they sound like a group eager to stretch their range without losing sight of melody.

The title track “Incandescence” opens the album with a surprising swing. The song borrows from the language of big band jazz but filters it through a contemporary lens with sharp rhythmic turns and theatrical flair. At moments it reminded me of the playful unpredictability you hear from artists like Black Midi or Geordie Greep. The timing is intricate and exciting, and the band sounds fully locked in from the start.

“A Little Hideaway” pivots toward something smoother. The groove leans into a slick 1970s flavor that almost evokes the glow of a Las Vegas lounge band. “Once More to Live” follows with a burst of carefree energy that fully embraces that era’s spirit. The track moves with a kind of celebratory momentum that feels infectious.

One of the highlights for me was “Strike of Lightning,” where the drumming really stands out. Wellen drives the song with precision while still giving the rest of the band room to explore. “Rehumanize” shifts again and taps into something that reminded me of the dramatic art pop of Peter Gabriel.

“Yours or Mine” introduces a different vocal presence that fits well within the band’s rotating palette of sounds. “Fakin It” leans into classic rock territory, while “The Frazzling” goes even bigger with riffs that carry strong Led Zeppelin energy. “Linger” slows things down with the atmosphere of a dreamy 1950s pop ballad, and “Novasage (AI Guide)” closes things out with a psychedelic jam that stretches the band’s sound once more.

Incandescence is a confident album and they pull it off. The musicianship is impressive, but the album never feels like a technical exercise. The songs carry memorable melodies and hooks that ground the experimentation. The band clearly enjoys exploring different corners of rock history, and they manage to make those influences feel lively rather than nostalgic. It is a record that rewards close listening and shows a band performing at a high level.

Jordan Messerole is an award-winning Americana artist from central Minnesota with several albums to his name, many with striking retro-LP artwork that's as good as the songs. Though he's just released a live album, his most recent studio collection is called The Blue Collar Tragedies.  He says his music combines "the raw, pinpoint accurate songwriting (style) of James McMurtry backed by hard driving, Americana rock and roll." 

Messerole takes the lead vocals and plays guitar and harmonica, backed by Kevin Neal (lead guitar/rhythm guitar/organ), Matt Woods (lead guitar), Scot Sutherland (bass) and Russ Tomlinson (drums). Vocal harmonies are by Sara Routh and Amanda Gibbons. Messerole's songs are said to "frequently meander across the lines between love and loss, success and failure, or life and death, with the songs' motifs varying as greatly as the wild flowers in the native tall grass." Fans of John Prine, Jason Isbell and John Hiatt may find much to like here.  

Recording and mixing took place at Redd No. 7 Studio in Des Moines, Iowa by Kevin Neal using vintage consoles and a 2-inch 16-track recorder. Mastering was by Hoobastank's Chris Hesse at The Lighthouse Recording in Los Angeles, California. The album is available on affordably-priced CD and vinyl as well as by download.

"Summer Thunder" introduces us to Messerole's big, authoritative voice matched with jangly country guitars and the sweet harmonies of Amanda Gibbons. He also lets slip the first of many NSFW lyric turns, which is one of the charms of his writing style: just telling it like it is, folks! The band does feel like mainstream pop rock but the vocals and lyrics definitely swing the track in the country direction, with a striking Dylanesque harmonica break. "Livin' Pretty Good" is a Stonesy blues rocker that really puts Messerole's lyric gifts and jaundiced worldview to good use, with lines like: "Got this new gig as a roofer and it's the closest I can get to the Lord / Drink a beer for every hour I work, and that's a dozen or more." And that's just the start, with a great chorus couplet: "I don't make a great living, but I'm living pretty good." With a track like this it's clear why Messerole has two lead players in his band. Watch out for an F bomb and reefer reference!

"Tryin' to Leave Trempealeau" is another cool mix of rock and country, with the hard guitars matching the power of Mountain but the body of the song laying wreaths to The Allman Brothers. Sublime lead guitar insinuations abound! This song also features guest Shane Johnson on bass. "Our House Was On Fire" is a flaming train-tempo rocker with blazing guitars as Messerole narrates a terrifying dream that unfortunately comes true. Here's a weird comparison: Zoot Horn Rollo's lunar notes on "Clear Spot." The next song sounds like an early Neil Young track but I can't figure out which one, but quickly finds its own sweet spot. The chorus harmonies with Sara Routh are particularly moving. "Small Engine Repair" finds Messerole at yet another homegrown job where he pays no taxes and gets paid under the table, with a downtempo, dirge-like beat and mournful harmonica to illustrate. 

"Drinkers Dawn" is another amiable ditty where Messerole "stayed up too late, listening to those old drinking songs." The music feels a bit like "The Ballad of John and Yoko" slowed down, which makes me question whether that song was actually country. Sara Routh again adds sweet harmonies. Yet another great lyric: "The angel on my shoulder lost out to the devil on my back." The fuzzed-out, echo-laden "Six Pounds" feels like "Dark Johnny Cash" and would be perfect for a Tarantino movie.

There's ten songs total, all effortlessly sublime. When I started I was ready to say this was more Americana than rock, but now I'm not so sure; it's as if Messerole's attitude more than the music makes it feel country. But whatever it is, you should really give it a listen!

It's sad that nowadays artists feel the need to proclaim their music has zero AI (I've considered saying so myself) but honestly, these guys are 100% in the clear! This is the kind of raw, homegrown music that pundits predict we'll be heading back toward as a reaction to the glut of AI slop. The band is Canada's Taller Than Houses and the album is titled Just Amsterdam. 

The band was formed at Mohawk College's music program and has since grown to become a well-known presence in the Hamilton, Canada underground scene. Their music is totally DIY and shows influences of emo, punk and jazz, with healthy doses of political activism. The members are Randy Wu (jangly and acoustic guitar/co-lead vocals), Cara McKay (bass/co-lead vocals), Christopher Walker (moody guitar/occasional lead vocals) and 
Wax Jastal (drums/backing vocals).

Like their previous album, these tracks were recorded "in the same basement, with the same eight inputs, using Logic Pro with the same ol' Macbook." However the band feels they've progressed significantly with proper monitors, refined mic placement techniques and a better understanding of sound. They're quite proud of the sonic result ("second attempt, double the quality!"), and the album is available on CD and also "pay what you like" download.

The title of the first track "Persephone" refers to the Greek goddess of spring, vegetation and the underworld. It starts with the sounds of a busy city, which cut off abruptly with the close of a car door. The song itself suggests reggae as recorded by Daniel Johnston, while the lead vocal has a similar quality to retro-crooner Matte Martin (reviewed here in June 2025). The track has an easygoing vibe that totally moves on its own wavelength: not only is there no AI, I don't think there's even a click track! The backing vocals are closer to callouts than singing, but they work. 

"I, Like a Metronome, Swing Both Ways" has a funny title and rocks a bit faster with a total alternative vibe like Dinosaur Jr. It's a disarmingly clean track with sincere but also amusing vocals. Cara McKay (bass) and Chris Walker (drums) have a few fun moments of quick interacting. Like most everything else, the drum set is recorded beautifully. "Nazi America" could be part two of the previous track, with similar chords and arrangement. The chorus gets a little heated, with the abandon of the Clash (which totally makes sense, given the topic). This one's also got a classic fuzz guitar solo that really puts the button on the track. 

Following the punk theme, we have "I'll Kiss You in the Mosh Pit" which is a Billie Joe-style acoustic excursion and a surprisingly beautiful love song. Running almost seven minutes, the gang take the opportunity to crank up the speed and volume toward the end. A perfect song to get your live audience on their feet! "Miss Caroline" has a cool muted bass tone (like it was filtered through someone's nose) and jangly electric guitars that verge on country (or the Neil Young version of country). I love when a song creates chords from note fragments instead of playing every string at once, though the bass is the secret star of this one.

"Faster Than the Rain" has a dark vibe suspiciously close to Jim Morrison and the Doors (including "Riders On The Storm" tremolo guitar). I admit I was a little cool on this track until it kicked into high gear. Now I like it! "526 (I'll Call You Later)" is a jazzy rocker playing what I think are 7th chords with vocals similar to track one. The sophistication of this track surprised me because it almost sounds improvised, yet reveals several levels of structure over its six minutes.

There's nine songs total and I missed a couple (including a final 10-minute rave-up) but the quality never seems to flag throughout. DIY for sure, but at the highest level. Loved it!

Some albums arrive polished and perfectly timed. Others feel more like someone opening an old notebook and deciding the songs inside still deserve to breathe. Pete Scales’ Blue Without You belongs firmly in the latter category. The record gathers twelve songs written between 1970 and 2001, drawing from decades of quiet songwriting and performance. Scales’ story stretches even further back than that. In 1958 he stood onstage at a small church talent show in Pine Brook, New Jersey while his Nanie played a loose honkytonk piano behind him as he sang an Irish tune about heading to Tipperary. Her advice that day was simple. Keep the beat. Listening to this collection, it sounds like he carried that instruction with him for the rest of his life.

The album functions almost like a personal archive. These songs reflect years of writing, performing, and letting ideas sit until they felt ready. There is a relaxed patience to the music that suggests someone more interested in honest songcraft than studio polish. Folk sits at the center of the sound, but the edges occasionally drift into blues, jazz, and Appalachian picking traditions.

The title track “Blue Without You” opens the record with undeniable 70s folk warmth. The acoustic guitar has a comforting glow and the vocals pulled me in immediately. The arrangement stays restrained. The track sounds full but never crowded, allowing the melody and delivery to hold the spotlight.

“Mary Lou” pushes the energy upward. The rhythm carries a rolling Appalachian character that reminded me a bit of M. Ward. The vocals lean into a generous amount of reverb and the guitar playing stands out with a confident ease. “For Awhile” shifts the mood inward and settles into something contemplative while “Arouse Me When You Rouse Me” leans into a blues and jazz progression that feels pleasantly timeless. One of my personal favorites is “One Half Short Of Being Whole.” The vocal performance there really lands with a sense of sincerity.

The record keeps revealing small pleasures as it moves along. “We're Past Our Dancin' Days” carries a wistful nostalgia while “For You It Was Love” leans further into that jazzy guitar language, somewhere in the orbit of Jack Rose and Django Reinhardt. I especially enjoyed the closer “It's A Very Nice Ferry,” which brings the album to a gentle and satisfying finish.

​The production across Blue Without You leans toward a lo-fi aesthetic. The sound quality shifts from track to track, which gives the record a spontaneous character. At times it feels as if these recordings were captured the moment inspiration struck. That uneven texture ends up working in the album’s favor. It reinforces the sense that these songs come from real moments scattered across decades of a life spent writing music. There are some genuinely strong songs here, and the sincerity behind them makes the whole collection worth spending time with.

Jake Dryzal is a singer-songwriter from Johnstown, Pennsylvania who's been reviewed here previously under the names Blue Navy (ethereal Lofi) and Great American Racer (ambient pop). His new solo album is called Untogether which he describes as "leaning into more ethereal textures reminiscent of Blue Navy, while some songs include strings with more of a chamber folk sound." Dryzal handled all recording, mixing and mastering, played all instruments and created the artwork.

Skimming his previous reviews, there's mention that some of the Blue Navy tracks were perhaps a bit too LoFi. That's not the case here, as the songs have a clean, airy feel. "Chariot" has a very long, slow fade-in (is this thing on?) but settles into an echo-laden picked guitar tune with a slightly distant, heartfelt vocal. It's a simple, dreamy track that nicely sets the mood. "East Rutherford" drops the heavy echo for a clean, strummed acoustic and a vocal that sometimes feels like David Lowery. The song hints at the complications of a love triangle, with the singer at the bottom looking up. Dryzal's orchestral and chorus patches are quite beautiful and he mixes them well here.

"Lake Michigan" has a similar arrangement and a similar theme in looking back sadly at a troubled relationship. I'm not always sure what Dryzal's singing is as he tends to push one line, then pull back on the next one so that his vocal tone gets lost in the strings. But, he makes sure we hear this couplet: "Look what you've done to us... look what you've done to me." The waters of Lake Michigan crossfade into "To the Park" which is another acoustic-based track paired with a single-note orchestral drone throughout. The chord scheme is a repeated ascending pattern that creates a subtle tension as you wait for resolution that never quite comes. I was reminded of the songwriting of Freedy Johnston. 

"Going Downwards" is a folky tune that looks back at a distant friendship, with the narrator gazing at a boarded-up house: "From the car I hear your favorite song come on / It's a sad one / I remember when we were kids... we were so grateful for what we had / And now it's gone." Dryzal changes things up with a melodic, restrained guitar solo that continues to the end. "Alcohol Is Not an Answer" is a surprisingly earnest track that feels almost like a counseling session for "another life, another soul that's lost." The concluding "Green Eyes" has a stark acoustic guitar tone like John Fahey for a song where our narrator faces the truth about a relationship: "But I can't deny your green eyes / I guess the purity behind them is not what it seems." The sincerity here is Lou Barlow-level.

So, I'm a little torn in that I really liked these songs, but honestly feel like I missed half the benefit because of the orchestral strings and lead vocals becoming a single ball of sound. But clearly there's good stuff here made by a talented artist. 

Abaday’s No Sleep moves with a quick pulse that rarely settles down. The album runs eight songs across twenty two minutes, and the pacing mirrors the title. The music stays alert and kinetic, with hooks that appear quickly and writing that gets to the point without circling around it. The record keeps pushing forward, giving the whole sequence the wired energy of someone running through the day without stopping to rest.

The short running time becomes part of the design. Each song arrives with a clear idea, establishes its groove, and hands the momentum to the next track. Nothing overstays its welcome. The structure keeps the album tight and focused, and by the time the last track fades out, the record leaves the impression of a compact pop statement built to spin again from the beginning.

The opener immediately caught my attention because the beat reminded me of something you might hear from Shakira. There is a strong club undercurrent driving the rhythm, and the vocal delivery lands with confidence over the groove. The following track, “לאבה,” shifts the mood slightly darker while still leaning into memorable melodies. The vocals on this one stood out to me, carrying a cool tone that gives the track a distinctive character.

As the album unfolds, I started noticing a kind of sleek, new age club atmosphere running through several of the songs. Living in Chicago, I could easily imagine tracks like these playing late at night in some downtown spot where the bass is steady and the lighting stays low. The production consistently sounds smooth and carefully balanced. “כאבים” is a good example of this approach, with a polished mix that lets the textures breathe without cluttering the arrangement.

Another standout is “עפה,” which rides on a steady 4/4 beat and layers striking melodies over modulated vocals. I found the production especially inventive here, with subtle details that keep the song evolving as it moves forward. The album also takes a few turns that you might not expect. Some tracks drift away from hip hop altogether. “סופה” pushes in a different direction, while “פריק” suddenly leans into metal territory. The shift feels surprising but somehow fits within the album’s broader sense of experimentation.

I went into the record expecting something closer to deep hip hop, but that is not really the space this album occupies. The songs lean more toward modern pop structures, built around strong melodies and hooks with occasional bursts of rapping woven into the mix. Hip hop elements appear throughout the record, but they function more like accents within a broader pop framework.

​By the end, Abaday is comfortable making creative decisions that arrive suddenly. The album moves quickly, but the production and songwriting show clear intention. There is a lot of thought behind the sound design, and the result is a record that packs a surprising amount of personality into a short running time.

Become A Fan

Mr. Wizard from Uniontown, Pennsylvania is an interesting band. They're a working alternative rock combo that plays shows and events like the Millvale Music Festival (a massive Pittsburgh event with 28 stages!), and have been written up in the music press with quotes like: "A sound steeped in exciting rock nostalgia, embracing the punk and grunge integrations of the '90s" (Obscure Sound). 

However (and I'm still wrapping my head around this) apparently Mr. Wizard alternates full-band releases with "McCartney" style solo outings by the band's founder, Mr. Wizard himself: Garrett Gates. On their newest EP Apartments Mr. Gates apparently does it all: guitar, bass, drums and vocals. I totally get it, because with my first band I'd get so excited about recording that I'd make 3/4 of an album myself, and then say in the liner notes: "John couldn't make it!" 

Describing their music as "Rocking Out Fun," Gates jumps right into rock with "All the Shapes." My initial take is that it sounds like the Sex Pistols if they were in a good mood. Gates has quite an English vocal tone for (I'm assuming) an American from Pennsylvania! The guitars are loud but not fuzzed out to oblivion, with chords that emphasize interesting voicings instead of blasting every string at once at every moment. The chorus guitar chords matched with the vocals reveal a musical sophistication that caught me off guard, like something from Revolver-era Beatles. 

"The Snake" dives a bit deeper into the Johnny Rotten well, with spidery vocals that skirt around and between the chords and melodies. Again I'm gratified to hear the care taken to keep the guitar parts interesting, with descending runs and quick arpeggios replacing block chords and unrelenting noise. "Fool's Gold" makes a lateral move to Bob Mould-R.E.M. jangly rock, and the combination of volume and chiming guitar is irresistible. I've been concentrating on guitar but just now I remembered that Gates is presumably playing bass AND drums, and it's a tribute to his skill that I never once doubted I was hearing a full band. "By the Tail" is notable for its trebly lead bass parts intercut with blasts of orchestral guitar constructions, with a vocal that recalls Mr. Lydon's "No Feelings." Hard to pick a favorite but this one's definitely up top! The concluding "Doctor, Doctor" follows the same template, with the exception that the crystalline guitars have a bit more air to breathe in-between the driving rock.

Not that it took much effort, but this EP quickly grew on me with each listen. Definitely worth checking out!

Become A Fan

Some songs carry a strange afterlife. They drift through decades, picking up new shades of meaning depending on who decides to reinterpret them. Mike and Mandy’s take on “Tonight You Belong to Me” approaches the old standard from an angle that feels both reverent and quietly surreal, reshaping the familiar melody into something hazier and more atmospheric.

The arrangement moves through a curious mix of styles that somehow manages to hold together. The vocals lean into a kind of midnight jazz phrasing, soft and intimate, as if the performance is happening in a dimly lit room long after most people have gone home. Around that core sits a patchwork of textures that draw from 50s pop, dreamy ambient washes, and even a touch of reggae rhythm tucked into the groove. The bass and drums act like gravity, keeping the track from floating completely away into its cloud of atmosphere.

The vocal performance carries a relaxed confidence, and the subtle stylistic shifts give the track a personality that feels distinct rather than nostalgic. There are hints of different musical traditions folded into the arrangement, but none of them dominate the mix. Instead they blend into a slightly strange but appealing sonic cocktail.

Out of curiosity I went back and listened to the original version of the song. That recording carries a different emotional tone altogether. The children’s voices paired with the lyrics give it a slightly eerie quality that caught me off guard. In comparison, Mike and Mandy’s interpretation feels more grounded and approachable, even with its dreamy atmosphere but that might be a sign of the times. Their version smooths out some of that uncanny edge while still preserving the bittersweet charm that made the song memorable in the first place.

West London's Patience Please do not require your patience to rock! Playing the band's EP Miles Away for the first time, I did that thing where I set the volume too high, so that when the crunch guitars came in, they almost took my head off! The trio features Ollie Palmer (vocals/guitar), Arthur Marriott (lead guitar) and Tommy Lane (Drums). They've designed their music to "showcase a band unafraid to explore different sides of their sound while staying rooted in big melodies and bold hooks."

Lead singer Ollie Palmer describes this new EP as "a collection of songs that feel like a snapshot of exactly who we are right now. There are big, loud moments rooted in honest songwriting, full of energy and catchy hooks. But there are also intimate moments where you really hear what we’re feeling underneath.” They hope to have created a document "that reflects both the adrenaline of our live shows and the more unguarded moments that happen once the amps are turned down." Along with airplay on BBC Introducing and Radio 2, they've also garnered over 40,000 organic streams on Spotify, and made it to the quarter finals of the Isle of Wight New Blood competition. 

"Wasting Time" is steady, chugging yet melodic rock with a pop sheen. As previously mentioned, when the guitars come in they REALLY come in, with a power not far from Bob Mould. There's also the first taste of Arthur Marriott's lead guitar, about which more later. The vocals have an intimate alternative sheen. Next up is the title track "Miles Away" which kicks up the tempo with choodlin' blues riffs that explode into celebratory rock on the choruses. At this point I've decided the vocals owe a bit to The Lumineers. The band says: “This single is all about the excitement and gamesmanship of meeting someone new and figuringout how to play the cards you’ve got. It’s a high-energy track that really lifts off in the chorus, with bouncy verses and a playful guitar solo." I'll second the guitar solo comment, as Marriott's guitar actually feels bright and sunny while rocking as hard as Revolver-era Beatles. 

Speaking of The Beatles, "Madelaine" starts with that Lennon-Harrison trick of strumming from major to minor and back again. The vocal is lower and more intimate, like a less hoarse Paul Williams. It's a sweet love ballad right in the middle where it belongs. The guitar solo backed by faux strings comes and goes quickly but adds so much. "Pretend" is a steady hard rocker (these guys are ALWAYS steady) and really leans into the Badfinger-Beatles connection, especially in the guitar riffs and tones. Just when you think this song has reached peak energy, it goes even higher. "Miracle" has a similar power, but here we have maybe one of the sunniest and melodically surprising guitar solos I've ever heard! Stopped me in my tracks! "I Want It I Got It" ends the set with a prominent bassline (obviously somebody switched over) and alternates steady verses with tumbling, juiced-up choruses. A good track that's more of an after-dinner sweet.

Though I did like the songs, the lead guitar moments and overall sound of this EP really won me over. But your mileage may differ. See what you think!

Become A Fan

The Iddy Biddies began as a Berklee collective led by singer songwriter Gene Wallenstein, and their approach blends indie pop intimacy with the storytelling instincts of Americana. You can say they share this with bands and artists like War on Drugs, Bill Callahan and many others.

Their album The World Inside carries that idea into a set of songs that lean heavily on melody, atmosphere, and a certain kind of emotional familiarity. On my first listen I kept having the strange sensation that I had already heard parts of the record before, even though I knew I had not. The melodies and structures move in a way that feels instantly recognizable, like stepping into a room you have never visited but somehow already understand.

“It’s Just a Show” opens the album with a mellow pulse built around a steady 4/4 rhythm and a bass line that anchors the arrangement. The track has a relaxed momentum that pulled me in right away. At moments the tone reminded me of Super Furry Animals, particularly in the way the song balances a laid back groove with a playful melodic touch. It works well as an opener and ends up being quite catchy.

“Mr. September” follows with a lighter energy and a generous amount of reverb that gives the song a slightly psychedelic tint. “Follow You Anywhere” caught my attention for a different reason. The melody carries a strong echo of 1950s pop songwriting, but the added atmosphere and production push it into a different space entirely.

The title track “The World Inside” slows things down and leans more toward ballad territory. “Believers” shifts the mood again with an alt country vibe while “Love Wonders Why” continues the run of strong melodies. “Fortunate Sons” adds a bit more edge to the middle portion of the album.

Later on, “Strange World” stands out as one of the cooler moments on the record. One of the highlights, and possibly the album’s high point, is “Words You Like to Say.” I loved the bass line here along with the groove and overall feeling of the track.

Throughout The World Inside I kept coming back to that odd familiarity I mentioned earlier. Something about the melodies, structures, and delivery kept triggering the sense that I had heard these songs before. I could not always pinpoint why, but it is rare that a record creates that feeling so quickly. One thing is certain though. The band clearly loves reverb and uses it constantly across the album. Whether that familiarity comes from classic songwriting instincts or something more subconscious, the record leaves an impression.