If you’ve been keeping up with this site, Steve Hensby Band should already be on your radar. With a string of top album honors, the band has become a consistent standout, and they’ve done it again with Astronomers Aren’t Morning People, a record that showcases their genre-blending abilities but perhaps to a lesser extent this time around.

The album opens with "Stop The World," an immediate whirlwind of intricate, lightning-fast guitar picking. The vocals, wrapped in warm reverb, draw you in before horns sweep through like a gust of fresh air. The track morphs from a hard rock groove into an intimate, Bowie-esque interlude before snapping back into its rock-heavy pulse—it's unpredictable, but the band executes it with such ease, making each transition feel seamless.

“All Wrapped Up In A Dream” leans into lush orchestration, with strings that instantly evoke Sgt. Pepper-era Beatles. The arrangement is lush and atmospheric. “Hitch-Hike To Mars” takes a different turn, blending deep organ tones with '70s funk and disco influences. The horns are sharp, the percussion tight—it’s a vibrant, rhythmic song that keeps you hooked.

The funk ramps up on “Starstruck DJ,” a track so irresistibly catchy it’s hard to sit still. The smooth guitar licks and tight band chemistry turn this James Brown-inspired number into a dance floor essential. “Turn Up Your Halo” stays in the same lane, bolstered by soaring female vocals that add a soulful depth to the groove.

“Kiss of Death” shifts gears entirely, pulling you into a haunting southern gothic atmosphere, reminiscent of True Detective’s first season soundtrack. Meanwhile, “I Wish I Was A Hat Man” is pure fun, opening with a James Bond-esque melody that stands out as a highlight in an album packed with them.

On “Jupiter,” the band leans into a cinematic, lounge-ready vibe, keeping the '70s aesthetic alive. It’s the kind of track you could easily imagine in a Tarantino film, with its cool, laid-back groove. “Neptune (I'm Your Baby)” channels Blondie with its infectious energy and glossy sheen.

The album closes on a more tender note with “I Hear Mercury Is Nice This Time Of Year,” a ballad that nods to Elton John. It’s a fitting end to a record that feels like a kaleidoscope of influences, yet always distinctly their own.
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While the references to past greats are clear, Steve Hensby Band carves out their own lane, creating something wholly original through their genre-blurring experiments. Astronomers Aren’t Morning People is highly recommended.

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Vince Charming has long been a fixture in the Bay Area’s singer-songwriter scene, weaving sharp storytelling and a keen sense of humor into his explorations of love, life, and everything in between. Now, with the reformation of the Vince Charming Band—featuring Rick King on drums, Ricky Fishman on bass, and Steve Lussie handling mandolin and lead guitar—the group delivers what they call “Roots Music…and Beyond,” a fitting descriptor for their expansive sound.

“Oaklandish” sets the tone, a groove-laden track perfect for a Saturday night out. With its punchy organ lines and wah-wah guitar riffs, it straddles the line between feel-good jam and laid-back rock anthem. Charming’s vocals are smooth and unhurried, with harmonies sneaking in just beneath the surface. The song’s breakdown offers a cool shift in momentum, giving the track an extra layer of depth.

“So Wrong” shifts into classic rock territory, recalling the swampy energy of Creedence Clearwater Revival, mixed with a hint of The Rolling Stones and Chuck Berry swagger. It’s a high-energy number, driven by tight dynamics and capped with a blistering guitar solo that feels like a nod to rock's golden age.

Then there's “Wired that Way,” a track that taps into the vintage vibes of The Animals. The production here feels raw and immediate, capturing the spirit of '60s rock while maintaining a fresh edge. Charming’s vocals remain at the forefront, tying the whole thing together with his characteristic warmth and ease.

Vince Charming wears his influences proudly, but what sets him apart is his ability to reimagine them through his own lens. His music feels familiar, yet it carries a distinct charm that invites repeat listens.

Nick Luddite, a musician from Sheffield, crafts a sound that defies easy classification. His work dances between rock and electronic textures, resulting in a blend that’s both intriguing and elusive.

“Not Insane” kicks things off with an alien pulse of electronic beats, soon joined by warm, reverb-laden guitars that shimmer in the mix. As Luddite’s vocals enter, there’s a hint of Nick Cave in his delivery—dark, brooding, yet strangely magnetic. The guitar work echoes shades of Brian Eno, with its atmospheric layering adding a weightless texture.

On “Mind The Gap,” Luddite pulls back, favoring a more introspective tone. The song feels drenched in the stillness of night, its subtle guitar lines casting shadows over a moody soundscape. His vocals take on a somber edge here, but it’s the percussion that quietly steals the show, punctuating the track with understated finesse.

“Room Inside My Mind” flips the mood, leaning into a brighter, more upbeat energy. Again, there are Eno influences—this time reminiscent of the playful, melodic leanings of Another Green World. A spoken-word section breaks the song's flow, adding an unexpected yet satisfying twist.

​Luddite’s talent lies in his ability to shift between moods and textures without losing cohesion. Each song on display offers a glimpse of his versatility, leaving the sense that there’s plenty more to uncover in his sonic world.

HebbaJebba is an amusingly-named rock group from Minneapolis who call themselves “The best high school band, though not while in high school. Not even now. But that’s a goal!” Both the band’s photo and influences point to a group of players way beyond high school, but the music feels young, energetic and light on its feet. Their newest album is called Number 2.

Before I knew anything about the group, I clicked on a 2021 Bandcamp track called “It’s Not You” and immediately thought of Tom Petty and “Won’t Back Down.” Turns out I was right on the money. Ted Hajnasiewicz (songwriter/guitars/vocals) loves Petty, Jeff Tweedy and Willie Nelson. Mark Ganje (“the good guitars”) has been influenced by Queensryche, Randy Rhoads and Derek Trucks. Tom Carlon (bass/vocals) and Paul Gordhamer (drums/vocals) like “everything from Marty Robins to Japanese pop metal.” Brendan Ober (keys/all the rest) loves John Lennon, U2 and Alice in Chains. Hajnasiewicz says: “We just try to honor our heroes, and write as honestly as we can. Rock and Roll is the best way to say it.”

As the opening track, “Rock and Roll Band” has both a title and a sound that points back to HebbaJebba’s forefathers. Though Hajnasiewicz is careful to credit Mark Ganje with playing “the good guitars,” in actual practice the band’s sound consistently features at least a couple axes playing interlocked riffs or bouncing chord variations off each other, along with a solid tube-amp tone. This is a two-minute rocker that acts as a kind of “Hey Hey We’re the Monkees” curtain raiser. In “Swagger” the guitars have an Eagles-like shimmer while Hajnasiewicz does his best Tom Petty (Ober’s Heartbreaker keyboards help, too). Most of the band members are also credited with vocals and I assume the nice harmonies come from them. Ganje takes a short but note-perfect guitar solo. 

For anyone who has trouble keeping an electric guitar in tune, “(PF)” has lovely strummed chords that will make you cry with jealousy. The big sustained guitar slashes join in right alongside, building a glittering edifice of rock magnificence over which Hajnasiewicz effortlessly sings. True rock majesty!  “Down To The Wire” fully embraces riff rock from the Zeppelin-Bad Company school. It’s amazing that with all the power of the band, Hajnasiewicz has no trouble singing along and being heard. “It’s Fine” is a power ballad with a neat Reggae middle section and some incredible bass tracking, plus more group vocal harmonies. 

I was hoping “I’m A Weed” was written by guitarist Mark Ganje (Ganja. Get it?). At any rate this one harkens way back to the riffs and sound of “So You Want to Be a Rock ’N Roll Star” but filtered through Blue Oyster Cult and played about 100 times heavier. “What Do You Want Me To Say?” has a Black Oak Arkansas swagger, featuring cool rooster-like guitars clucking away. “Wings Of A Dove” sounds like the title to a Bette Midler song, but is instead a sweet lament featuring achingly beautiful guitar chords and melodies with a mostly single-note vocal line by Mr. Hajnasiewicz. One of my very favorites. “Change My Heart” is the almost eight-minute epic conclusion, started with environmental sounds and leaning on acoustic guitars and lush vocal harmonies. I mean no disrespect by pointing out a similarity to the songwriting style of Neil Diamond, especially in the choruses. A quite interesting and lovely finish.

In all honesty this kind of straight-ahead rock is not my usual jam, which just shows how diverse and awesome every one of these ten songs are, along with absolutely stellar recording quality. I couldn’t get enough. Totally recommended!

Nashville singer-songwriter Meghan Pulles has an interesting term for her music: “emo-positive” (not quite as striking as “Jews for Jesus” but close!). Her style of indie music is described as blending folk, pop and Americana. She released her debut album “ear baby” on Aurally Records in 2023, along with a host of singles with striking artwork that I found on Bandcamp. She’s back again with a new single titled Lambs for the Slaughter, which will appear on her sophomore album coming in 2026.

​Pulles’ music is intended to create a space for reflection and connection. Her lyrics are often compared to “the lyrical brilliance of Regina Spektor and the introspective grace of Joni Mitchell.” Her debut album garnered over 150,000 streams and was featured on platforms like EARMILK, Obscure Sound, Music Crowns and Broadway World. In 2024 she was nominated for Artist of the Year at the Josie Music Awards (Folk/Americana). She’s even made the first round of ballots for the 2025 Grammy Awards in the Best New Artist, Best Pop Vocal and Album of the Year categories. 

I first played this single without reading any of the background material. I have been officially documented as having zero comprehension (fact!) but what I picked up was a song that begins by describing the senseless loss of life as a result of war or even epidemics, and extrapolating into the new, frightening “Handmade’s Tale” reality for women in our current political environment. Turns out I was close! Pulles’ press release states that “Lambs For The Slaughter” was written on the day the Supreme Court overturned Roe V. Wade. Pulles says: “This isn’t just a political issue; it’s deeply personal. The history of disrespect towards women and their choices weighs heavily on my heart. This song channels that collective pain and frustration. I want this song to be a rallying cry for change. We need to stand together for a just and equal world. This is my declaration as an artist and a passionate advocate for women’s rights.”

The track begins with Pulles playing acoustic guitar and singing wordlessly almost as if she’s moaning, joined by a hard rock band sound in a minor key with an abrasive edge. Clearly this is not going to be a happy journey! As the lyrics begin I now realize Pulles is grappling with the abortion decision right from the start: “Oh history… drag me down, hit me with a shard of glass / take away all my rights of living.” I can see I got the war imagery from line “Everything that we fought for is buried in the ground.” 

Pulles has a pleasing mid-range voice but obviously the subject matter fills her performance with gravity. The chorus harmonies are beautifully performed but have the most chilling lyrics: “What gives you the right to use my body for your altar/ We are lambs, just the lambs for the slaughter.” The imagery can’t help but remind me of the biblical story of Abraham and Isaac, though in this case we’re still waiting for an angel to intervene! Musically the second section is similar to the first, with a few variations. The second chorus is if anything even more powerful, with Kate Bush-like ghostly backing vocals wailing in sympathy. Excellent tone on the electric guitars and a full, wall of sound production style throughout.

This track is certainly of-the-moment and a sign of important work ahead from Pulles. Chilling but recommended!

meghanpulles.com

Poke A Brain’s “Reggae One” might wear the trappings of its namesake genre, but it doesn’t stick to the script. The rhythm and strumming patterns are unmistakably reggae, but the song ventures into unexpected territory, particularly with its inventive bass work and a vocal delivery that feels both detached and foreboding. Add in a striking horn section, and you’re left with a track that bends genre conventions without breaking them.

The song opens with a slick groove anchored by a steady 4/4 beat, setting a laid-back vibe that’s quickly upended by darker undertones in the lyrics. The vocals, understated yet haunting, seem to flirt with themes of death, or perhaps the slow inevitability of it—a narrative left deliberately ambiguous, allowing for personal interpretation.

As “Reggae One” unfolds, it reveals a dynamic structure, shifting textures and sonic layers that keep things engaging. The chorus is undeniably catchy, but it’s the chaotic turn around the two-and-a-half-minute mark that steals the show—a swirling storm of sound that feels both disorienting and thrilling, leading into a final, unexpected outro.

It’s a track that surprises at nearly every turn, leaving you curious about what Poke A Brain will do next. The ability to twist a familiar genre into something fresh and unsettling is a rare feat, and here, they pull it off with style.

Rasmus Fynbo’s Speck of Light pulls together a transatlantic ensemble, primarily built around the Danish composer-producer and Argentinian vocalist Camila Castellani, with additional contributions from guitarist Alex Duarte and multi-instrumentalist Per Solgaard. The album’s thematic core grapples with existential weight—love amidst chaos, loss, the need to carve one's own path—and even delves into historical storytelling, like in "Sea of Time" and "Speck of Light," where Fynbo explores the life of Grauballemanden, a preserved bog body from Denmark’s Bronze Age. It’s ambitious, with Fynbo citing influences ranging from Fleetwood Mac to Charlotte Gainsbourg, pulling from folk, indie rock, Latin rhythms, and even gospel.

The opener, “A Summer Day in April,” immediately sets a mood of acoustic warmth, Castellani’s vocals evoking the soft dreaminess of Mazzy Star’s Hope Sandoval. The track unfolds slowly, layered with rich, earthy instrumentation that envelops the listener in a comforting haze. Castellani’s voice becomes a focal point throughout the record, with each song offering new textures and emotional contours.

“Into the Woods” expands on the wistful tone of the opener but injects a quiet optimism, while “Late September Sky” introduces a flirtation with indie rock, fusing it with folk and Balkan undertones. There’s a playful nod to Feist here, especially in its infectious melody.

“Departure” leans into sultry Latin rhythms, fitting snugly into a noirish atmosphere straight out of True Detective. The mood softens on “Fireflies,” a track drenched in melancholy, before lifting spirits with the gospel-inflected “Le Lac.”

Where some albums start to taper off in quality, Speck of Light maintains its momentum. “Anhelando” shifts gears linguistically, offering a beautifully immersive moment in Castellani’s native Spanish. “Nostalgia” contrasts its title with a more danceable groove, while “Lullaby at the End of the World” closes the album on a triumphant, almost cinematic note.

From the meticulous production to the seamless genre-blending, this album feels like an intricate puzzle of emotions and soundscapes—ambitious in its scope yet deeply intimate in execution. Speck of Light is an accomplished, thoughtfully composed work, deserving of high praise.

Sean Hopkins is a singer-songwriter from the arts community of New Hope, Pennsylvania. Before going solo, he led several indie bands and became well-known along the east coast for his folky guitar playing. His first album under his own name was 2022’s “Chasing Ghosts In The Dark” and he’s now following up with the brand new “Pictures of Nothing” which is available on Bandcamp and all streamers. The album is said to deal with “interpersonal relationships, and the need to nurture those relationships.” Along with his music, Hopkins hosts a YouTube channel which features original songs, cover tunes, guitar and gear reviews, live videos and a blog. 

“All About Love” begins with shimmery strummed acoustic guitar paired with acoustic piano, playing a minor chord progression with a distinct baroque feel. Bass and drums shortly follow, with Hopkins’ double-tracked vocals reflecting a clean, latter-day Beatles quality. In the chorus section Hopkins builds impressive chorus harmonies all by himself. The playing and recording of the drum kit is also excellent. Hopkins calls his music “indie-alternative-singer-songwriter” but this track to me is very much folk pop. The next track “Strangers in the Mist” has a Bob Dylan feel, and I assume that’s not just because I’ve been listening to Bob lately! Maybe add Jim Croce or Kris Kristofferson as well, thanks to Hopkins’ largely solo lead vocal and harmonizing acoustic lines. As a guitarist (though not as good as Hopkins) I can hear how his expert finger picking gives birth to the rolling, gentle rhythms of his songs. Piano on this track is credited to Desiree Hopkins.

The title track “Pictures of Nothing” adds chiming, lap-steel-like electric guitar to the acoustic strumming. The vocals here feel even more sincere, though perhaps it’s the gravity of the lyrics which brings that quality. The main riff is like a slower version of the Beatles’ “I Got A Feeling.” Overall there’s a bit of a country vibe. “Beneath the Stars” features a psychedelic middle section along with Hopkins’ already classic guitar sound. “Twisted Branches” has yet another Hopkins family member (Blaise) on additional guitar (I’m guessing he played the tasty, tremolo lead parts). Very cool mixing choices here for Hopkins’ voice, which repeats into the stereo void like distant memories. Kudos to producer and session player Woody Jiang!

“Bridges Tides Have Washed Away” has a cool, muted riff from the John Fahey school, with chiming electric guitars and expansive keys peeking in here and there. However the star in this track is Hopkins’ voice, which seems closer and more sincere than ever. Just a two minute song but it really stands out. “Nothing to Hide” starts out with Hopkins only on vocal and acoustic but has a surprise accordion capper and a final, quick burst of full-band sound.  “Silence Was a Friend to Me” is an introspective folk track that sings about my home town of Hollywood (“I can see Mulholland drive as your hand slips into mine… the coastline rises toward the stars.”). The cool moment here is an acoustic middle section that was purposely distorted and overdriven in the mix. The concluding song “The Child in Me” is the only track with co-writers (G. Eshbaugh, Eric Carlson, and Rand Hanson) so I was interested in hearing how it may sound different. What I’m finding is more of an early, jazzy Paul Simon arrangement, with trilling piano, glockenspiel, syncopated drum fills and spacey background fills. The rock section actually flirts with bass-driven dissonance and it really works! Clearly the most creative arrangement on the album. If you like your indie music on the quieter side, Hopkins has exactly what you need. Impressive!

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Jaz Dager is a young English writer-performer about whom I know very little, and I find this frustrating because she may well be my new favorite artist! Apparently she plays keyboards and sings in a band called NIVMH as well as performing and releasing her own guitar-based rock music. Her brand new E.P. (of which she’s justly proud) is called Light Tricks.

The info I was sent is mostly descriptive text about Dager’s music: she’s inspired by indie folk, shoegaze and alternative metal, but “creates music that transcends genre.” Her songs are said to contain “sonic landscapes that mirror the ebb and flow of her feelings, creating a complex tapestry of emotions that her audience can connect with.” For myself Dager’s songs recall the dark melodicism of Radiohead with the raw power of Throwing Muses and the vocal dynamics of Tanya Donnelly. 

For the hard facts I had to investigate a few Instagram pages and videos. Dager sings and plays guitar, along with band members Kixle Pixel (guitar), Max Masterson (guitar), Daniel Wangusi (drums), ohnoitsnivmh (drums) and Harry Micklewright-Taylor (keys) who is also Dager’s “loving partner.” Guitarist Max Masterson is credited with co-producing and mastering, as well as crafting the incredible wall-of-guitars sound that anchors these songs.

From what I gather, these songs deal thematically with a dark patch of Dager’s recent life as well as her recovery. “This EP holds a lot of pain,” she writes. “Two years ago I couldn’t imagine ever being okay again. This isn’t to say I’m fully recovered, but I’ve at least learned to accept the ways in which I am broken. I have a long way to go, bit I am now firmly on the way.”

“Haunt” begins with literally haunting sounds from the keys, as Dager slowly builds the melodies with picked electric guitars, slightly muted and somewhat harmonic. Dager’s voice begins in a smooth lower register, then adds lush harmonies. Her voice stays right where it is as the full rock sound kicks in, which is a hell of a balancing act for the mixer! The drums have a live “roomy” feel which keeps the track from feeling “too” ethereal. By the end the guitars have almost overpowered the vocals. “Amantes” is one of the singles from the E.P. and at this point I’m noticing a similarity to Michelle Branch in vocals and music (I’m a fan, so shut up!). About a minute into the song, Dager switches to Spanish lyrics, which I do not understand but sound amazing. The guitars here and elsewhere have a high-end component similar to Belly. This a track I can easily float away with.

“Zenith” continues without a pause from “Amantes” with very similar composing and arranging, but taken another level higher in pitch and energy. Tumbling drums and picked guitars dominate the second verse, which Dager caps with a raw, very long vocal note. By this point in the album Dager’s voice does sometimes disappear beneath the musical onslaught but that’s not unusual for shoegaze or dreampop, and if she’s momentarily lost she quickly resurfaces. “Indifference” has more of a heavy metal basis with jagged rhythms and prominent keys. The chorus guitars are outrageously heavy. “Light Tricks” is the second single, yet another balancing act between Dager’s vocals and the huge guitars surrounding her. I love the gutiar riffs here, and Dager’s voice is like another instrument, the way Michael Stipe’s voice is sometimes described as the “bass sound” in R.E.M. The final track “Yearning” takes the opportunity to quiet down a bit so we can experience the full effect of Dager’s lovely vocals before yet another slamming chorus. 

I’ve played this album a few times and I still can’t get over its amazing mixture of sensitive emotions and all-out heaviness. I’m also a big fan of albums with a consistent sound (not as easy to achieve as you think). Dager’s created something amazing here and I can’t recommend it enough!

Lone Kodiak’s debut album If We Have a Future crashes into existence with the kind of unrelenting energy that defines their LA-based sound. The quartet—Daniel Alden on bass, Josh Harris on drums, Ben Palmer on guitar, and frontman Dainéal Parker handling vocals and guitar—seamlessly blends post-rock atmospherics with the grittiness of grunge, conjuring influences like Queens of the Stone Age and Deafheaven. But Lone Kodiak isn’t just playing within genres; they’re bending them.

The album hits like a surge of adrenaline, a relentless assault on the senses where every instrument is dialed into the red. Distortion reigns, bass and drums hammer, and the guitars stretch to fill every corner of the frequency spectrum. It’s an immersive experience that builds and swells, constantly pushing for higher altitudes, with crescendos that feel both triumphant and inevitable.

"Breads on Oak" stands out as one of the more straightforward, yet effective, tracks. Anchored by an anthemic chorus, it begs to be sung by a crowd, and Parker’s vocal delivery—reminiscent of Chris Cornell’s gravelly soulfulness—adds a depth that elevates the song beyond standard rock fare.

On "Obvious States," the band stretches their wings even further, reaching for the celestial with shimmering guitar work and breakdowns that echo Explosions in the Sky’s spacious, cinematic approach. And then there’s "Cold Shoulder," a standout with its hypnotic, repetitive guitar lines and shimmering ambient layers. It builds toward a wall of distortion—predictable, perhaps, but no less satisfying—its beauty amplified by the harshness of the noise.

The technical abilities of the band is undeniable, but what makes If We Have a Future stick is its cohesiveness. The album only reveals more of itself with each listen, drawing you deeper into its raw, visceral world.

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