Inner Sky is a duo comprised of composer/pianist Wendy Loomis and vocalist Barbara Jaspersen. They call their music “pop jazz art songs: moody, poignant, reflective.” To me they sound almost like a chamber group, with Loomis’ classically influenced piano melodies followed very closely by Jaspersen’s lovely, elastic voice. Their new album Inner Sky features nine original songs plus one cover tune from the 1930’s. 

These two artists have been associated for quite some time. Wendy Loomis formed a musical ensemble with poet Royal Kent called COPUS in the late 1990’s. Barbara Jaspersen joined as vocalist almost from the beginning, and the group has released previous albums along with performing live. Aside from this project, Jaspersen is also a film and theater actress, plus lead vocalist for the pop-folk band Stray Muse.

Musically the duo have been compared to Norah Jones, Joni Mitchell, Sarah Vaughan, John Lennon and Debussy. All music and lyrics are by Wendy Loomis except where noted. Recording, mixing and mastering was by Jimmy Hobson at MarinWest Studios in San Anselmo, California. The quality is stellar, with such recording clarity that you feel you’re sharing the room with the two players.

“Lion Circle” begins the album with open arms, as the piano figures are lush, beautiful and totally matched by Jaspersen’s voice. Hopefully I won’t anger the artists, but if you’ve been even slightly moved by the love theme from “Titanic”, there’s a similar vibe here but on much more intimate terms. I’m an idiot without a lyric sheet, but this song seems to be looking back at a sweet love affair while bravely facing the present and future. “You’re Fading” brings the tempo down for a jazz-classical tune that really has that baroque feel. For the first time Jaspersen overdubs harmonies to her own lead vocal and it’s a thrilling addition. The descending, waterfall-like chorus of “you’re fad-ing” anchors the track. 

“Street of Dreams” is a foxtrot from 1932 that’s been covered by many artists including Bing Crosby, Guy Lombardo, Ella Fitzgerald and Patti LuPone, though the version here seems closest to Tony Bennet. Loomis really ups the smoky jazz quality inherent in the music and Jaspersen proves herself capable of matching The Greats with her swinging vocal delivery, featuring many solo moments.  “Angels on the Ground” is another stunning original seemingly set in a Winterscape (I believe the angels on the ground are snow angels!). 

“Spark” features lovely rising vocal harmonies in place of a traditional chorus. It also works as a straight-out love song for me (“You are the light of my soul, morning light”), with some of the jazz touches of Vince Guaraldi. “One Snowy Night” musically reminds of Debussy, confirming a previous reviewer’s discovery. Guest Melissa Finder provides the lyrics. Vocally Jaspersen really scales the heights here. “All Life is Lived” has lyrics adapted from a poem by Rainer Maria Rilke, and the performance is especially dramatic, easily imagined on a darkened theater stage. Almost six minutes, this track features three distinct movements with some especially amazing keyboard moments. The final track “Me!” is a total changeup, playing with the humor found in kids’ sing-alongs or goofy stage shows, as if Mary Poppins lost all her wisdom and decided to make everything about herself. A very fun conclusion.

This album is so good that I clearly was not up to grasping all its many levels of greatness, but I can recommend it without reservation!

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SAGOBA, hailing from Dewitt, MI, crafts a sound that defies easy categorization. “Enrico Was Right” is a prime example of this eclectic approach, blending soul, funk, and rock into a vibrant, groove-heavy track. The song pulses with energy, led by a dreamy organ and a killer bassline, but it’s the vocals that steal the show—dynamic and versatile, showcasing an impressive range. There’s an unpredictability here, as the track shifts gears and even flirts with ballad-like moments.

“Touch the Sky” continues the genre-blurring exploration, with a cinematic sheen and layers of synths and organ that give the song a unique, 80s-inspired feel. There’s an infectious syncopation running through the track, creating bursts of energy that propel it forward. Once again, the vocal delivery is top-notch, pushing the song into even more engaging territory.

“Cheap Imitation” stands out as a personal favorite, dialing into a straight blues groove that’s both laid-back and intensely energetic. The bassline is a standout, and the addition of horns brings a rich texture to the track, making it feel both classic and fresh.

SAGOBA is an artist with an original sound, mixing genres with ease and delivering consistently compelling performances. These tracks are well worth your time.

Emblematics—comprised of Michael Yun (vocals/guitar), James Yue (keyboards), Will Yue (bass), and Howie Venus (drums)—return with “Separation On The Surface,” a track that further expands on the sonic palette they’ve been honing in Wavelength and Navigation.

From the outset, the song lays down a brooding post-punk groove, its mood recalling the shadowy elegance of Joy Division. But as the vocals enter, there's a lift—a subtle brightening as airy synths swirl around the kinetic beat. The track builds in layers, an understated ascent as the soundscape grows more enveloping. There's a quiet sophistication here, a restraint that feels deliberate and measured.

The song circles back to the verse, but this time the energy pulses a little stronger. The crisp interplay between the organic basslines and electronic elements feels razor-sharp, each detail falling into place with precision. Just before the three-minute mark, the band breaks into a soaring moment of clarity, as if cutting through a fog towards open skies, only to settle back into the original groove as the track closes.

“Separation On The Surface” blends retro post-punk sensibilities with a sleek, modern production, giving the song a fresh, forward-thinking feel. It's a dynamic, rewarding listen—one that leaves a lasting impression. Highly recommended.

Toronto-based artist Alex Fawcett, one half of the songwriting duo Cold Circuit Killers, crafts a sound that lives up to its titles. “Sunny Days,” the first track I encountered, radiates exactly what you'd expect—a burst of warmth and optimism. The production is polished, blending drums, bass, organ, and guitar into a vibrant, cohesive whole.

The song opens with a steady, mid-level energy, but when the chorus hits, it’s like the atmosphere opens up, flooding the track with a golden light. Fawcett’s vocal delivery is smooth, and the hooks are effortlessly memorable, a clear highlight of the track’s charm.

“Reflection” follows a different emotional thread, true to its name. The track kicks off with strummed guitar chords and a lamenting vocal performance that borders on a croon. Light piano enters as the song evolves, adding depth to an already intimate, melancholic mood. There’s a warmth to this song, a kind of gentle sadness that lingers just beneath the surface.

Then there’s “Sleep Baby,” a straightforward folk piece that strips everything back to guitar and vocals, only to be softly elevated by subtle orchestral flourishes. It’s simple but striking, another testament to Fawcett’s ability to convey emotion through minimalism.

​What stands out in Fawcett’s music is its emotional depth. He wears his heart on his sleeve, and it's easy to feel the raw sentiment in these songs—a quality that will no doubt resonate with many listeners.

The Crystal Sound Project is a collaboration between artists Viktor Bénév and Bilyana Furnadzhieva. The duo have released two previous albums and this is their third, titled in the willow dream. In reading about the project I was almost certain I had heard music by this collaboration before, but it turned out I’d reviewed two solo works by Bénév very much in the same experimental, electronic and organic realm.

The project is described as “a fusion of porcelain sculptures, sound objects, electroacoustic music, poetry and languages, all intertwining to create a rich, eclectic experience.”  The project is further explained as “bringing together diverse cultures and traditions through the universal language of music and improvisation, shattering conventional boundaries—geographical, political, or linguistic.” Furnadzhieva is credited with “sound sculptures in porcelain and electronics” while Bénév’s sculptures are porcelain, piano and electronics. Visual artist and singer Åsa Öhrn and Russian flutist Artëm Naumenko are also featured.

The tracks themselves are built from experimental rock, electronic, free jazz and neo-classical compositions, surrounded by the signature sculptural sounds of the Project. Thematically, it delves into topics such as war, isolation, love, loss and resurrection. 

With the opening track “The Screen” it’s clear this is a headphones album, or at least an immersive stereo production. We start with a mini-symphony of percussive and scraping sounds, each with its own unique timbre and resonance. Åsa Öhrn joins the track with powerful vocals and spoken word, as the music becomes a kind of otherworldly jazz combo with prominent piano and bass. The effect is deeply hypnotic. “Meeting Point” is the first track to feature flutist Artëm Naumenko playing alongside what sounds like a “slightly” treated piano. The melodies here are intricate but absolutely lovely, and could easily play in a movie montage for a non-American film. “Hope Is Forbidden For The Loving” has a jazz combo-feel at its center with more deeply resonant vocals by Öhrn, which is periodically embraced by a seeming locust-cloud of distorted voices or other sounds.  

“Nara” slows the tempo way down, combining flute, sawing strings and keyboards for a distinctly moody excursion. I believe the sung vocals could be Swedish. The balance of the song is played on a very low-tuned guitar with percussive bells or chimes with judicious feedback. It’s a mysterious and bracing journey. “Rain” features similar instrumentation and feels like a track played backward, though it certainly is not. The male and female voices take turns reciting a poem in English and Bulgarian. Different time signatures come and go without any fuss and the whole is surprisingly serene.

“Nocturnal Mood” starts with a rumination about how many trains cover the earth, which will get my attention every time! This one alternates among spoken, sung and whispered word, man and woman, with the background piano and percussion providing a sort of Greek Chorus. Totally immersive and a bit spooky.

The concluding track “Abborredansen” starts with gently rolling waves, then introduces a lovely chiming piano with Öhrn again singing in Swedish (at least I hope so!). The percussion suggests wind chimes with the waves still continuing underneath. A sort of miniature maelstrom builds with the piano melodies and electronic keys, before the triumphant conclusion. 

There’s no way I did this amazing work justice with my simple review, but hopefully I’ve given you an idea of what you might hear and can experience for yourself. Recommended!

enovaerecords.com/crystal-sound-project-in-the-willow-dream

Brother Magh is both the project name and artist name for a one-man studio musician from Missouri who’s just released a concept EP titled Stardust and Soul Retrieval (Remixed and Remastered). Apparently this album is one of a continuing series following the “journey of a person traveling through another reality called The Dreamtime.” Running just over 16 minutes, the work encompasses four tracks that segue directly into each other, so it’s important to download or play this album on a streamer that has gapless playback.

Conceptually, the character of Brother Magh is given a chance to affect his world by “observing it from a backstage point of view.” He’s constantly jumping timelines, sometimes as an observer but at other times helping to change the outcome. He then imparts on “a forever quest for kindred souls” searching the vast Dreamtime for the truest of treasure. Sonically, the sounds that link the four tracks represent the ethereal planes of existence. Every new album release is a part of the overall journey, and the music itself is “laced with healing spells and positive magic, designed to break brain-washing exchanges from (popular) music and visual arts.”

Musically, Magh identifies with progressive metal. Similar artists and influences include Tool, Nine Inch Nails, Rob Zombie, Drowning Pool, Ministry, Porcupine Tree, Soulfly, Soilwork, Sleep Token, Katatonia, Paradise Lost and A Perfect Circle. Recording took place at AYMN Studios in St. Louis.

“Soul Retrieval” begins the album with a miasma of noise, feedback, discorporated voices and backward sounds. In the psychedelic era this was quite common (check out “Axis: Bold As Love” by Jimi Hendrix) but not so much today. Only a minute long, but it’s a cool-sounding introduction. “Stardust” is the first song proper, and is built on a heavy rock riff with highly processed vocals in the style of NIN and some of the other bands Magh mentioned, along with the James Hetfield “cookie monster” voice. The main lyric and thrust of the song is “we are made of stardust.” The rock band sound Magh creates is tight but with a ragged undertone, and is bathed in atmospherics that approximate a phasing, uncertain reality. At two minutes Magh takes an understated but cool-sounding guitar solo. Watch out for the occasional low-frequency booms!

“Phenomenal Anomaly” is lyrically a bit more like a traditional rock track, though the vocals are low, processed and somewhat insinuating, like a scary old wizard started whispering frantically into your ear. Musically it’s a tumbling stew of toms and wailing guitars in a minor key, with more of those painful croaking vocals where the chorus would be. The riffs remind this old metal fan of classic Black Sabbath. 

“Sic Vita Est” is Latin for “Thus Is Life” (you’re welcome) and feels a bit like a slower version of the previous song, though the guitars are dialed down a bit and actually weave a lovely picked pattern. Given the quieter backing, the vocals are a bit easier to hear but still hard to decipher. Like the guitars, they are multilayered and create a powerful effect with all the different vocal styles immeshed. Again, make sure your stereo system can handle the sudden subsonic booms! For me this song is the best combination of shredded vocal chords and metal guitars. 

As mentioned, this is a short album but just one part of a continuing series. Check it out and see if you want to follow Magh’s journey!

Become A Fan

Singer-songwriter Mike True is a longtime resident of New Orleans as well as leader of the Phantom Band, playing a mixture of rock, folk and Americana. He’s released over 70 original songs and just dropped three new tracks titled Natural Disaster, Good Bad Guy and Can’t Stop the Rain.

True has been performing Americana, pop, rock and country music since the late 1980's. His Phantom Band is a “mythical” assemblage of over 20 artists who come and go at whim. His New Orleans lineup currently includes Phant Will (fiddle), Heath Borne (vocal harmonies/hand percussion), Sam Tepper (keyboards/piano) and Max Sanders (mandolin/guitar). True himself sings and plays rhythm guitar.


“Natural Disaster” establishes an enveloping, almost underwater sound from the first chords. It’s to the Phantom Band’s credit that I can’t quite figure out how the sound was developed, except maybe through some cool guitar effects. At heart, though, this feels like a folk song. True’s vocals have that authentic, hardscrabble Woody Guthrie/John Prine quality. On the surface this song appears to be about our current age of global warming events that seemingly hit on a weekly basis. “Another natural disaster / we all live on shaky ground, what can I say? Best get out the way.” The drums are spare, and there’s some backing strings and chorus harmonies. This is certainly the most amiable song about the global apocalypse I could ever imagine!

“Good Bad Guy” feels more distinctly country, thanks to the pedal steel, mandolin and lonesome acoustic guitar. If that’s Heath Borne on backing vocals, he’s added a ghostly, church choir gravity to the track. True even takes a short whistling solo. Dramatically the story reminds me of Warren Zevon’s obsession with Frank and Jesse James. This song’s a great example of True’s lyrical gifts: “It's hard to live poor​ / In the land of the free he likes keeping score / Thinks he’s some kind of hero / He wants to be a Good Bad Guy / An innocent criminal.” 

“Can’t Stop The Rain” is not a song by Creedence, but instead feels like another rumination on tending land in these chaotic climate times. Again True’s guitar either has a pickup or has been processed for a shimmery, reverb-laden sound. This is the kind of song that feels good to hear and makes you want to sing along, though the slightly minor feel and the sad lyrics make you wonder if you should. True undercuts the mood slightly at the end with this reassuring childhood rhyme: “Rain rain, go away / Come again another day.” There’s also a Caribbean feel with the gradual addition of steel drums.

I loved all three of these songs and totally recommend putting Mike True on your New Discoveries List!

Eric Randolph Rasmussen of New York is a prolific recording artist known as Salon de la Guerre. He’s released 40 albums and over 500 songs. It seems every time I wake up there’s a new album! He’s been reviewed on Pitch Perfect several times (twice by me) and he seems to change up his approach slightly with every new project. His newest album (at least this week) is titled Standing Close To Power and Catching Its Cold (he also comes up with great titles!).

Rasmussen describes this album as “another punk-pop work, though with more of a twin-guitar approach than past efforts.” As always, Rasmussen plays all the guitar parts on a Fender Stratocaster and programs the bass, drums and synths in Logic Pro X. In the past I’ve described the Salon project as being like an experimental power trio over which a poet pontificates, or with a crazed keyboard player going off on his own tangents. Though Rasmussen doesn’t say so, I found this newest collection to be highly reminiscent of the Captain Beefheart classics “Trout Mask Replica” and “Lick My Decals Off, Baby.” It would make sense as many of the early punks were Beefheart acolytes, and I count myself among them. As such I’m ecstatic over these new songs, but they may take some getting used to for the “Normies.”

The album starts innocently enough with “This Town Needs Secrets” which features an infectious rock beat with a cool keyboard bass patch that follows Rasmussen’s vocals note-for-note. Rasmussen says the album’s songs are about “gossipy small towns and tense interpersonal relationships, examining the things that boil under the surface in our domesticity.” The guitars are loud but not far from a traditional garage band, like early Who or Kinks. “You Only Like Things New” follows with another classic punk rock arrangement with even faster drums and an endearing, sincere lead vocal. The playing is fast, highly energetic and hard not to groove along with. 

With “Local Boy Makes Wood” (LOVE that title) we enter the Beefheartian phase, with both guitars slashing out jagged chord creations alongside bass lines that would make Rockette Morton proud. Rasmussen finds the vocal center in the miasma, but with this kind of music you get points just for keeping up! The vocals drop out for the final minute and you really get a blast of the “Trout Mask” sound. “Polly Emory” (let’s just posit that all the titles here are great) continues the jagged dueling Fenders with that same aggressive beat. Rasmussen even dares to sing harmonies! “Ariel Despite” starts out a bit more traditionally punk from the Minutemen school, but then gets crazy again. I love all the dramatic pauses he builds into his music. “Incident at the Cape May Hot Dog Eating Contest” is notable for the two guitars slamming out powerful chords, but each with its own distinct sound (one trebly, one with more bass). 

“The Sound of One Hand Crying” takes a short detour into more traditional ballad rock, with an almost pretty sequence on the guitars. The drums also move away from the fast one-two beat for more of a tumbling, jungle-like pattern. “The Hills Are Alive with the Sound of Metal” came on while I was driving and I immediately loved the title and vocal ideas, though the music is definitely not “heavy metal.” The repeating and interweaving guitar figures have a robust energy that I could not get enough of as I swerved through traffic. The closing track “The World’s Pain Leaked Through Her Shirt” changes things up with player-piano melodies apparently written on the keyboard and cranked up to a Zappa-like tempo, trading rhythmic and melodic patterns with the jumpy, tight drum arrangement. After all that came before, this song feels almost classical!

Like bomb-seeking radar, those who love this type of music will quickly lock into the jagged frequencies of this album. For anyone else looking to be surprised or challenged, you just might a great time riding the rapids of these wild tunes. Love it!

Jeffery Leander, an LA-based artist, has been steadily dropping a string of singles throughout the year, each showcasing his knack for blending rock and pop sensibilities. His track “What Bad Guys Do” leans into this fusion effortlessly.

​Built on a foundation of strummed guitar chords and a muted beat, the song initially feels restrained, but quickly ramps up. Distant lead guitar lines drift in and out, setting the stage for a hook that bursts with energy. The guitar crunch adds grit, and as the song progresses, the production deepens, layering elements that create a sense of rising intensity.

“Probably Just a Phase” takes a different route, with a folk-inspired sound that’s more uptempo than the genre typically suggests. The bass line grooves beneath, while Leander’s guitar work adds dimension to the track. His vocal delivery, as always, shines, giving the song a polished yet raw feel.

“Today Sucked” stands out for its emotionally charged vocals, a reflection of someone navigating stress and frustration. It's a song that feels lived-in, capturing a specific moment of tension. But it’s “I Promise” that leaves the strongest impression, leaning into a retro soulful vibe that feels timeless. There's a warmth and depth here that makes it the standout among his recent releases.

​Leander proves to be a versatile musician, shifting between styles with ease. Whether it's rock-infused pop or folk-tinged grooves, he brings a sharp musicality to every track. He's worth keeping an eye on—these singles are only the beginning.

Nick Bellerose, a Canadian indie folk-country musician, taps into a well-traveled heart on his latest offering. Having grown up in Montreal and shaped by years of diplomatic service across the globe, his music reflects a nuanced perspective—drawing from a mix of personal heartbreak and the stories he's collected along the way.

​According to Bellerose, It’s a sound firmly grounded in the tradition of Bruce Springsteen, Van Morrison, and The Band, yet also shaped by contemporary touchstones like Ryan Adams and Zach Bryan.

“That Night,” the third single from his forthcoming EP, channels the spirit of early Leonard Cohen with a touch of Sufjan Stevens’ fragility. The song is understated but carries a quiet weight, built around delicate acoustic guitar work and vocals that feel as if they’re whispered directly into your ear. There’s a minimalism at play here, but it’s far from sparse—reverb-soaked atmospheres subtly weave in, heightening the intimacy without overwhelming the track’s emotional core.

Other tracks like “Camila” follow a similar path, with strummed chords adding texture to the softness. “Forever Young” leans into a meditative stillness that evokes both melancholy and reflection. Across these songs, Bellerose doesn’t rush to fill space, instead allowing a quiet introspection to take hold.

These tracks offer a reflective calm that feels rare, unhurried yet deeply resonant. With this EP, Bellerose is crafting a world that invites the listener to sit with their thoughts, and there’s a certain allure in that patience.