Rochester, New York singer/songwriter Brian Lindsay adds ten more rock n’ roll gems to his already impressive songwriting catalog with his fourth full length release Revival. Delivering an inspired roots-rocking record that is filled with confidence, Lindsay and his veteran band, as well as some of New York’s finest musicians, lay down styles of Americana, classic rock and singer/songwriter genres, centered around the artists’ trademark concept format. With his lyrical craftsmanship, Lindsay transports the listener to places and times with clarity, bringing a renewed sense of hope and purpose to a world, “that is long over-due for a revival.” The Brian Lindsay Band has shared the stage with The Smithereens, Southside Johnny and the Asbury Jukes, Shooter Jennings, Donna the Buffalo, Poppa Chubby, The Outlaws and The Little River Band to name a few. 

All songs were written and published by Brian Lindsay except where noted (which are too numerous for space to allow here, as are the many musicians that took part in the recording of Revival). The album is recommended for fans of Bruce Springsteen, Van Morrison, Steve Earle, Neil Young, Elvis Costello and Warren Zevon. As you might imagine, Lindsay’s songwriting inspiration comes from many places, from his surroundings in upstate New York, to the politics of our times, and relationships and love. 

The opener starts with the album’s title – “Revival.” It’s a positive tune as Lindsay sings, “Times are tough, but we are stronger…after these hard times, comes another day” promising listeners that there’s always another chance for a better tomorrow. “Love Lives Here” opens with rumbling drums, Americana like guitars, and a vintage sounding organ alongside a piano melody. No doubt, I could hear the Springsteen influence on this track. Even in the darkest places of our lives, love can still live “in this black and blue heart.” The next tune, “River of Faith and Healing” switches gears and offers the listener an Americana/alt-country sound, reminiscent of Dwight Yoakam, Marty Stuart and Steve Earle, with a sprinkling of gospel coming forth from the lyrics. “Gaslight Lounge” features a straightforward, classic rock sound, in all its danceable, hip-shaking, foot tapping fun. Moving along to the next song, “Better Angels” sounds more contemporary, mixing styles of gospel, soul and rock. I think this song is a good example of Lindsay’s own unique blend of other artists’ that influence his work. 

“Wear and Tear” is a fun rock and roller. The shortest song on the album, this one will for sure get you on that dance floor. With boogie-woogie playing on the piano, the band plays full, loud and raw – this one’s a crowd pleaser. “American Night” is another short song and issues a commentary on the state of the U.S. “I can’t shake this American Nightmare” sings Lindsay – “if I could just slip this skin, maybe then I could fit in.” Overall, this is one of Lindsay’s harder edged numbers. “Land that Time Forget” gives the listener another take on the state of affairs in the good ‘ol U.S.A. – which I’m guessing here, Lindsay sings about how places in America, and the people within them, have been neglected for far too long.  This one features the fiddle and mandolin and mixes styles of alt-country, Americana and just a bit of bluegrass perhaps. “Beautiful Scars” reminds me a little of Springsteen’s work when he left the E-Street band that first time – was it the late ‘80s, early ‘90s? Anyway, a rock-solid song with some great guitar action, too. 

The album’s last tune is “Reckoning Day” and it ends the album on a hopeful note. Lindsay sings about how one lover “faces the facts” at the end of a relationship, how a country must pay its debts and how eventually, “judgement shall stand.” 

​Letting freedom ring for everyone, justice roll down like a stream and for a people to one day overcome – songs don’t get much more hopeful, or inspiring, than this. Musically, it features a big, bold sound, filled with warm guitar mood, (sounds like those sweet tones a Fender Telecaster here), ear filling drum rumbles and soulful organs. If you’re into the musical styles of Americana, roots and classic rock and enjoy artists like Bruce Springsteen, Steve Earle and the others mentioned here, I think you’ll really enjoy Brian Lindsay’s Revival.

Urban Deer Hunt is a rock band from Austin, TX. The singer (Blake) and guitarist (Jake) went to high school and undergrad together. After having played a few shows around Texas and honing their songwriting skills, they decided it was time to record a few things professionally which became a three-song EP entitled Sacred Lands.

The EP begins with the title track “Sacred Lands” and right off the bat I was getting serious Tom Petty vibes. It was both the Americana inspired music and vocal delivery. Blake does sound like Petty which is most noticeable on the verse. The chorus comes and the song sort of feels more like a contemporary rock/pop song. It’s definitely got a single worthy quality to it. This is a fantastic song.

“Wave” comes out of the gates with an explosive arrangement. The guitars soar, the bass is steady and the drums drive. Similar to the previous song the Americana vibes are evident. It’s  dynamic with clear distinct parts. The hook is easy to remember and something people could sing along with. Tom Petty still felt like the main influence here but you can throw in John Mellencamp as well. 

Last up is “Days of my Youth” and something about the song felt like I had heard the vocal melody before. In fact I looked it up to make sure it wasn’t a cover. The song feels like it starts with the hook. There’s a breakdown of sorts that happens where he goes into a higher octave range and this section felt more reminiscent of a band like The Black Crowes. This was my personal favorite song out of the three.

​I can’t say that Urban Deer Hunt is reinventing the wheel. Americana rock in this style is still very popular. That being said, they sound great. The production is top notch, the delivery is precise and passionate and the songs are well constructed with memorable melodies. I think fans of heartfelt Americana should love this.

​This was a solid start for the band and I hope to hear more in the not too distant future.

Cos Voke is a musician from Glasgow, UK who recently released a three-song EP entitled Onlooking. The artist mentions “I have tried to be a lot more introspective and honest in my writing and I do feel this is my best work so far.” The artist also mentions some of his influences including Mac Demarco and Tame Impala. 

The EP begins with “birdie” and I did hear the Mac Demarco and Tame Impala influence. It felt like the atmosphere was in Tame Impala territory and the guitar work had some similarities to Mac Demarco. That being said when these influences combine it creates a distinct sound. Musically, the song is pretty straightforward with a 4/4 beat, major and minor chords and memorable melodies. The vocals were a key component to the song and I thought the delivery which was smooth and relaxed sounded good.

“learn by heart” felt like an upbeat, joyous and playful song. It’s the type of song that could change the kind of mood you are in. In fact the song seems to change on multiple levels. The artist sings “And I know the tides will change another day. / I know I still got to try and change them anyway. / I know that how we pray will never change, but. / I’m still waiting on that day.”

I loved the vocals on this song which are dynamic but still within a natural range for the artist. It’s also very catchy. The hook was sing-along worthy. There’s also a killer ’70s style guitar solo towards the end of the song. This felt like the highlight to me out of the three songs.

“idios kosmos” is the last song. It is a little more cerebral but still a fun time. I was picking up on some Pink Floyd vibes on this song. The vocals are sometimes spoken word and sometimes in a more traditional style. It’s a silky smooth song with clean, reverb laced guitars as well as a subtle atmosphere which makes the song feel psychedelic.

​The EP goes by fast at around ten minutes. On that note it was still enough to give me a clear idea of the artist's essence. The songs felt inviting and there was a sense of levity to the music. I was impressed by the wordplay, songwriting and range of the artist. 

This was a solid release with a lot of great songs and I hope to hear more in the not too distant future.

Otobo is the project name for the music of Josh Thorsey and Justin Holden, based in Albany and Kinderhook New York, respectively. Their band project began after discussing music at work. Both are guitarists, but their primary focus is songwriting, producing and creating records “as a full-scale message, making music for the mind.” Their self-titled debut album Otobo is the first of many to come.

When I get an album to review here on Divide and Conquer, there are several ways I can audit the music, but sometimes the project and the playback match perfectly. For Otobo I took an early morning walk with my temperamental iPod, which happened to be working great. This collection is very much a conceptual journey, where songs or passages meld seamlessly into each other. Many of the sounds, while somewhat familiar, are used in new and fascinating ways. Thus I was amazed to learn that recording mostly took place in a field in Kinderhook, using the sounds of the ground, an oil tank and various other objects for percussion and samples. Though I thought I’d heard birds or wind, it’s wild that these were organic to the recording process and not added later. Holden did most of the recording and mixing, using Studio One.

The band further explains: “We just wanted to be honest with what we were saying, and show our dual perspectives on the world in a sonic realm. It was very easy for us to be vulnerable when collaborating, and that honesty goes a long way (toward) making songs filled with emotion.” 

Immediately after hearing this album, I texted my bandmate John and told him this music was like “Home Taper Pink Floyd Without Drums.” That’s a simplistic description but it’s a start. I’ll discuss certain tracks but with the caveat that this album should be taken as a whole, the way it was intended.

“Dawnbreaker” fades in with what I originally thought were bird sound effects and synthesized waves of dusty wind, but which I now realize are “real” location birds and possibly offstage traffic. There are isolated bits of sound that could be footsteps or stick crackles. Almost magically the keyboards and guitars appear, creating an ominous but triumphant opening theme. “Masterpiece” shatters the spell with a single guitar chord, and all the backgrounds fall away. Two reverb-drenched electric guitars share a sweet dialogue, followed by Pink Floydian vocals, organic bongo-like percussion and the occasional synth trill.

“Sunseeker” rises organically from the ending of “Masterpiece.” Initially things quiet down for some Egyptian-flavored guitar through a cool-sounding tremolo. There’s a quiet soulful vocal and more expansive chorus voices, easygoing percussion and otherworldly sounds. “Carry On” feels like a direct continuation or middle section, this time on Spanish-style acoustic guitar and a more upfront vocal. “I’m floating through space / I’m floating without a trace / A place I’d call my home / No one to hold…” This track feels the most traditional thus far, like a dark acoustic ballad where both guys trade vocal duties. Regardless, it still has a surprise, big-finish ending. 

“The Garden” is built on what sounds like a guitar-picking loop playing in 6/3 time (is that even a thing?) like a prog-rock deep cut. The slashing electric guitars are a shock but also a total delight. Almost everything the boys do is represented here in this one track. 

“Listen to the Birds” begins after the first true “silence” in the album, starting out like a simpler Paul McCartney or Roger Waters acoustic riff, but you can’t expect this song (or any other) to play through as they began. At two minutes in, the table is flipped for reverb-drenched guitars, strange percussion, coyote howls and god knows what else. The rising chorus at the end is a thing of beauty, followed immediately by “Wind Song” featuring saxophone by Michael P. Farrell (is that what sounds like whale calls?) and some of the coolest, deepest percussion hits on the album. 

“Sweet Child” runs almost seven minutes, again featuring Farrell on sax, and feels like it’s the “space out” Part Two section of “Wind Song.” There’s a veritable symphony of instruments, strange voices, screeching electronics and organic drumming here, impossible to describe. There’s even some crickets at the end! “Lazy Star” features one of the most beautiful acoustic guitar riffs yet, with guest Eddie Jowels on additional keys. “Release” takes us out with more beautiful dual-guitar picking, with just a hint of dissonance. An otherworldly synth chorus offers a final benediction, ending with what sounds like ancient stringed instruments or possibly the inside of a piano.

​Obvious I’ve just become a huge Otobo fan. Check them out for something truly new and unique!

EchoMotor is a new creative project by producer and solo artist Will Foley. The artist took some time off production before getting inspired by the chaotic and unnerving allure of the sea. Foley mentions “EchoMotor was born from a desire to channel this inspiration and authentically connect with a wider sense of musical community from within a state of peaceful isolation.” His recent four-song EP The Marked Sea is what came out of that desire.

The EP gets going with “Roll On” and it combines electronic and organic instrumentation. There are synths, drum machines and also an acoustic guitar. The riff has movement but it is soothing at the same time. I was somewhat reminded of the electronic act The Knife. I heard the manipulated vocals which seems to affect the pitch. There are actually a number of different ways the vocals are treated here. As the song progresses the drums get more intense and the general sound is somewhere between DJ Shadow and Mogwai. I thought it was a solid opener with inventive production showcasing the dynamics of the song.

“Justin Time” starts with a very serene and soothing soundscape. It’s all atmosphere at first. Faint elements start to come in but everything sounds like it’s in the distance at first. What starts as a lush arrangement begins to rock out with a commanding rhythm section which basically sends the song into hyper drive. The lyrics don’t come in later in the song. I couldn’t make out a word because of the effects but it still sounded cool. 

The centerpiece is the almost ten minute “Be Enough.” It begins with a hypnotic and repeating melody that is backed by what sounds like guitar work and other subtle noises. Around the two- minute mark drums come in and a unique groove is established. The lyrics are clear on this song. It's also the first song with a more distinct hook when he sings “In our old age we'd tell the kids about it / How we lost another's love and lived without it.” It’s a vocal driven song but it also has the most epic moment yet towards the end where the guitars soar and synths glide. 

“Reminisce About Now” felt different. I was picking up on Sufjan Stevens and Bon Iver type vibes with this song. For the most part it’s guitar and vocals to my ears. This is arguably the best vocal performance. I liked this song a lot but it did feel a little out of place compared to what came before.

​Foley is clearly an artist with a lot of ideas and I thought he did a great job showcasing some of his talent. This is a solid EP from beginning to end and I hope to hear more in the not too distant future.

MCD is an independent recording artist we at Divide & Conquer reviewed a couple years ago when he released CoronaVIOLENCE. The artist is back with a new release called The Upside Down: Chapter One and mentions “I’ve wanted to make an album like this for ten years now and finally built up the courage to do it. It has a heavily influenced 80s/retro vibe with a lot of synth work and big hooks but also leans into my darker, more ‘metal’ sound on some tracks. I love everything from the ‘80s, from the sounds to the movies and the hit series Stranger Things was also a huge influence.”

“They Steal The Light” is an interesting one that combines cosmic sounding synth elements with an industrial sounding kit. There are some vocals built on this song which reminded me of Rage Against the Machine. The main hook however is when he repeats the phrase “They steal the light.”

“Take Me Home feat. Jaykub” is more downtempo but still very atmospheric. There are a lot of misty pads and crystalized synths which create a lush and exciting soundscape. The rapping from the artist and guest melded perfectly with the music. Solid song. 

“Dark & Light: Darkest Night feat. Self Savior” is totally immersed in an ’80s aesthetic including an 808 type kit. The music actually reminded me of Beach House. I thought the hook was really strong with this song. In fact I would say this was one of the highlights. “Love is a Battlefield feat. Dabble'' picks up some energy with a strong sample. This song in particular reminded me of Eminem.

Another highlight was “Love is a Battlefield feat. Dabble.” I loved the hook on this song and the flavor of this song is sort of playful and loose which combines well with the music. There are some very impressive vocal performances. 

“Separate Ways” has this cinematic rock opera type of vibe while I think he utilizes a sample from the band Journey. “Paradise feat. Cody Nash” is a much more pensive and thought- provoking song. The fast rapping with the slower beat worked wonderfully.

As the album progresses I thought there were a number of highlights. “Don't Worry feat. Charlotte Pike” has some of the most infectious melodies, “Monster feat. Loose Logic” is a banger ready for the club as well as some of the best flows with a killer hook. The closer “It's a Sin” is very cinematic and has familiar melodies I couldn’t quite pinpoint. 

​This is a vast album with a lot of attention to detail. In my opinion this is the most realized album yet by the artist. Take a listen.

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Giving Up Isaac is a solo project for Dino Sinos. Sinos has played drums for over thirty years. in the last five years he has focused on learning to better play guitar and also learning western music theory for guitar. The artist mentions “people have compared the songs on this EP to Bush and Metallica. Other songs not yet released have been compared to Black Flag, Black Sabbath and hints of Down.”

Giving Up Isaac is a phrase that is personally meaningful for him and he hopes it is broad enough for others to find their own meaning in it, too. The title of the album Climb the Sky is meant to inspire us to spend more time looking up, lifting up our wandering reflections skyward.

The title track “Climb the Sky” is the first song and it revolves around distorted guitar and drums. I didn’t hear any bass on this song. There are vocals but it’s kind of spread out. The song’s structure deviates from a typical song. I thought the best part was a little after the two-minute mark where he unleashes a guitar solo. The guitar was definitely impressive

“Salve” did remind me of Black Sabbath in some ways. The guitar and drums often sound good together but were missing some of the low end from the bass. That being said, the lead guitar is again the star of the show here. There are a surplus of killer riffs on this song.

“Beeing” was the heaviest song yet bringing to mind early Metallica. There are a lot of transitions and main melody from the guitar work. “Shades of Grace” is a solid effort and the most emotive of the songs to me. Sinos sings “Standing in the median / Poor sign says please / Some smile / Some give to the need.”

As an engineer myself the main critique was the mixing. The artist mentions he plays the drums on a Roland TD-25K v-drum kit and play the guitar/"bass guitar" through the NU-X MG30. The drums and guitars could have been mixed in a way that made them sound more uniform and symbiotic. I felt like some low-end was needed.

​Overall, I thought this was a solid release with the guitar work being the main attraction. Take a listen.

Alistair Aktas is a musician from Solihull, in central England. He studied as a classical musician at the Birmingham Conservatoire but then in his early twenties he stumbled upon a vinyl copy of Nick Drake's final album, Pink Moon, which inspired him to teach himself the guitar. Since 2016, he has performed every year at the annual Nick Drake Gathering, held in the Warwickshire village of Tanworth-in-Arden, where Nick Drake lived. Aktas also released The Sky Is Singing which is a ten-song album. 

The album is stripped back and relies on acoustic guitar picking and vocals. That’s really about it. The opening song “Carillons” displays some beautiful guitar picking skills. It starts a bit soft and somber and goes into a section with faster guitar picking which sounded fantastic. The picking style reminded of the artist William Tyler.

“Chorale” is where we are introduced to vocals and his singing style has a ’70s folk flavor. It sounded somewhere between Nick Drake and Donovan at times. The singing style also has this medieval like quality that’s at least portrayed in movies and TV. That was some of the imagery that was going through my head.

The album continues with“Scylla and Charybdis” which continues to showcase his signature sound. It’s soft and intimate but still has movement. There are a lot of great lines on this song which are poetic and interpretative. One of my favorites was “There the fiery lightning flash, /There his bones were turned to ash, / Beneath the bough the waters rend, / How long 'til I sail again?” “My Hands Do Tell” continues in this style. 

“Repose” felt darker than what came before. Something about the strumming style and execution here gave it that quality to my ears. The album is full of guitar picking but “Patron of the Gloam” displayed some of his best delivery. It’s a warm and inviting song and one of the highlights. “Stuck All With You” is a solid one and “​​You Do Yourself No Favours” has some darkness in the foundation but I also found it warm and beautiful. “Portrayal” contains very fast and intricate chord progressions while the closer “Goodbye” has a meditative quality to it.

My main critique was that I did feel I wanted a little more instrumentation sprinkled in to give the songs more colors and tones. I don’t think it needed much but maybe a wind instrument here and there.

​Overall, I thought this was a good album. Aktas is an exceptional guitar player and I found myself gravitating towards those patterns just as much as the vocals. Take a listen.

Hyooman is an alternative/rock band from Minneapolis, MN, formed by Leng Moua and later joined by Elise Bremer (keys/vocals), McCoy Seitz (drums/vocals), Dillon Marchus (bass) and Victor Pokorny (guitar/vocals). The band recently released Pilot which is an LP with ten songs. They mention “The songs in this album cover a variety of themes. We go through modern day adulthood, frustrations with social media, nostalgia, existential dread, finding yourself in an age of mass information, capitalism and introspection.”

The album begins with “Discourse” which is one of the catchiest songs I’ve heard from the band but also serves as more of an intro. It’s under two minutes and ends too quickly but is indicative of what else is on this album.

Next up is the warm and joyful sounding “Kid.” This song reminded me of bands like Real Estate and Deerhunter which were popular indie bands around 2005. The guitars are really well produced with just enough reverb to make them seem inviting. I loved the hook on this song which I was humming along after my first listen. Great song.

“Mud Water'' starts with the melody which sounds like it could be a synth of manipulated guitar. The song's accessible and memorable melodies come right off the bat when the vocalist sings “Mud Water is thicker than blood” which is essentially the hook. I always feel pretty cool when a song actually starts with a hook and then goes into a verse. The verse settles into great vocals as well.

“So Proud” was giving me old school Weezer vibes similar to their sound when they released the Blue album. It’s another great song and I loved the vocals. The song is just full of great melodies from every angle like the guitar, vocals, etc.

“I Feel Fine” is another one for the win column. This song feels like it youthful suburban melancholy. That being said the chorus is this mix of melancholy and warmth. I was again super impressed by the band's ability to get a song to stick right away.

The single “Month End” is arguably the highlight. It’s an exceptional song with infectious grooves, stellar dynamics and wonderful singing. “Don’t Wanna Be” is a little more low key. It’s sort of this intimate quality that reminded me of the artist Youth Lagoon. The lyrics were top notch on this song and very relatable. One thing I liked was how he was listing off things about himself and came to the conclusion that “I don’t want to be anyone else that I know.”

The band continues to knock it out of the park with the ’80s synth sounding “In a Bad Way” while “No Accountability” has mid level energy and exceptional vocal harmonies. They close with “Sometimes” which is a feel good type of song. It fades out and then fades back in again which I wasn’t expecting.

​The band has been on my radar for a long time and they delivered an exceptional album from beginning to end. This is an album where you won’t want to skip any songs. Highly recommended.

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Hayden Dupuy is a 21-year-old songwriter and performing artist from Covington, Louisiana. He’s also a self-taught producer and has been recording and mixing his own music for the past five years. His newest release is titled As I Am. Though he has no other albums listed on Bandcamp, he says he spent a full year writing and recording over 200 songs, which is where I assume most of these album tracks came from. 

Thematically, Dupuy says this album is “about growth, learning to be comfortable with oneself, and the consequences of loving someone who’s moved on. I like to think it’s my most positive project, though it still has haunting themes of suffering with depression and heartbreak. It tells a story of learning to love yourself before you love someone else.” Songwriting comes naturally to Dupuy: “A melody or a line comes to me and I immediately write it down or record it on my phone. I can usually finish a song within 15-30 minutes.”

Recording, mixing and mastering all took place in Dupuy’s apartment bedroom using Studio One Pro, routed through “tons of reverb, compression and EQ to set the tone for each project.” Though technically the album sounds fine, some tracks seem to end with a digital “snap” instead of a nice clean fade. This is something Dupuy might be able to fix and re-import to Bandcamp without too much trouble. 

Dupuy says he “likes to think my music sits on its own little island” and I’m sure he’s being honest. However, as a big fan of the Fleet Foxes, I can tell you I’ve never heard another artist so effortlessly capture their sound and spirit, and even more incredibly that it’s just one person. Dupuy’s got their same mellow picking style with the same cavernous reverb, along with very similar vocal tones, patterns and even subject matter. The biggest difference is that Dupuy’s songs are quite short, averaging less than two minutes each. But whatever endorphins the Fleets conjure up for me, playing this album by Hayden Dupuy has a strikingly similar effect. I might even put them on the same iTunes playlist!

“Over You” begins with a hesitant acoustic guitar playing a simple 1-2-3-4 picking pattern, over which Dupuy sings in multiple tracks about “the same road I’ve been traveling for the past two years / no one by my side, just a river of tears.” The song is a short, simple declaration of getting over someone, but the catch in Dupuy’s voice indicates his journey is just beginning. “Losing My Mind” is a minute-and-a-half long, but has two distinct sections: the first feels like a continuation of the first song, while the second brings in a thick chorus of Fleets-like vocals. The brevity of these songs has its own chilling effect, as they seem to fade out just as the emotions hit you on a gut level.

“Love’s A State of Mind” is the first song I would dare call musically upbeat, as it has a hopeful Brian Wilson arrangement with thicker keys and even more choir-like vocals. “Daniel” also evokes “Smile” era Wilson, and I can see now that this is due to Dupuy’s modular approach: like Wilson, he often stops and completely changes gear in the middle of a song, as he does here. This makes listening without following the song titles feel like you’re hearing even more than 12 songs. I also love the dramatic piano arpeggio used here.

“I Try” is a clear example of how Dupuy’s song structures follow the vocals, and not the other way around. His lyrics are like daisy chains, with each line connecting to the other. “I like to think it’s not my fault / for everything that’s come to me / But here you are, I’m proven wrong / guess I’ll write another song / I… try… to get away…” At over two minutes this song has one of Dupuy’s most interesting and multi-faceted arrangements thus far. 

The title track “As I Am” has the drama and sweep of an off-Broadway ballad. Dupuy’s simple but heartrending lyrics show just how far away he is from getting over his broken heart: “What I’m trying to say is, I love you / I love you / I still do.”

“God Complex” has quiet acoustic guitar and campfire-like chorus trilling that introduce an especially Fleet-like song, both thanks to Dupuy’s lead vocal and the references to God. (The F-bombs are startling, though!) “I Wish (I Could Cry)” is unusual for the album as it runs just over five minutes, and is another direct dialogue with the cause of Dupuy’s broken heart. “It’s unfair to say Look At The Bright Side / when there isn’t one…”. If anything, there’s even less space between the artist and his pain than before.

​It’s a little weird for me to “enjoy” an album that comes from such a difficult place for the artist, but the songs and music here stand on their own, and I heartily recommend this album and its talented songwriter.