Laura Glyda is a singer-songwriter from Chicago who crafts songs within the folk, pop, and Americana genres. Her latest album is titled This Heart Is A Machine. I am new to her music, but her talent and craftsmanship are evident in every track.

After trying out a few comparisons in my mind, Glyda most reminds me of Mary-Chapin Carpenter from her prolific 90s period, with that same sincere, beautiful vocal style and similar themes of soul-searching and troubled love. Glyda’s musical upbringing was steeped in the acoustically driven classics from the '70s along with '80s synth-pop. Her diverse influences include the introspective melodies of the Indigo Girls to the infectious hooks of Taylor Swift. She’s also shared the musical stage with artists like Melissa Etheridge, Colin Hay (Men at Work), and The Ballroom Thieves.

Thematically, Glyda’s new album is said to be a deeply personal memoir that chronicles the end of her marriage while embracing “the transformative power of solitude.” Through her music, Glyda hopes to reflect on “the enduring power of belief, trust, and love, even in the face of adversity.” “A Beautiful Light” opens with the unmistakable sound of a live, acoustic piano. Glyda’s tentative melodies fall like raindrops. When she sings, it’s with that same hesitant, searching quality until she alights on what appears to be the truth: “Maybe you never loved me at all.” In that moment, the song proper begins, with a compelling arrangement of confident, lovely vocals, piano, strings, and drums. I don’t know where this was recorded, but it’s clearly a pro job.

“After You” is our first song with a brisk folk-rock tempo and maybe the first to remind me of Mary-Chapin Carpenter or even Dolly Parton. It’s a gently rousing statement of belief within the fallout of a broken love: “There is only everything after you.” The introspective piano and classical guitar interplay that opens “Whatever We’ve Done” is positively baroque. Glyda sings more quietly for this mellow arrangement, but her voice loses none of its power. On this track, I’m feeling a bit of Nanci Griffith’s confessional harmonies from the “Flyer” era.

“Take Only What You Need” is even closer to Nanci, in that there’s a bit of an Irish lilt in the sweet, soaring chorus vocals. This is maybe my favorite track thus far, simply due to the optimism and confidence of the lyrics and arrangement (“There is more ahead than all you leave behind / Take only what you need / There is salvation in the emptiness / And love within the loneliness…”). More exquisite strings follow this song through. “Bravery” has one of the best lyrical openings: “Can this be called bravery / Walking away from someone who can’t wait for me to leave / But they won’t hold the door?”

​This track has the polish of a folk-country radio hit, with an irresistible chorus and absolutely stellar singing throughout. “The Garden,” having a simpler acoustic opening, also draws attention to Glyda’s deceptively basic but evocative lyrics: “I said I loved you / Even though you said it first / Brought my kiss like water to your lips / You were dying there of thirst.” Glyda’s amazing voice, the acoustics, and the strings are a sublime combination. The final song is the title track “This Heart Is A Machine,” and Glyda really has constructed a beat that resembles a heartbeat machine. It starts a bit techno, but then kicks into a solid folk-rock groove with the vocals leading the way with (yes) heart and confidence. Whoever the studio players are, everyone is on point, and the production is stunning. Well, I certainly found myself impressed with Laura Glyda, and have no qualms recommending this album to one and al

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johnnyrockdog (not a typo) is a singer-songwriter with a new single called drive. His artist name is the culmination of many nicknames indicating that Johnny ROCKS. He cuts a striking figure with his long white ZZ Top beard along with dark glasses, green tennis shoes and a jaunty cap. 

Johnny believes in the healing power of music, and has been writing songs since he was a child. His songs speak of freedom, love and personal transformation, and feature his unique philosophical, social and emotional ideas. Hoping to inspire change through his music, he donates a portion of any profits to various causes. Musical influences include The Beatles, James Taylor, Robyn Hitchcock, Elvis Costello and The Grateful Dead. 

In prepping for this single, I listened to a couple other johnnyrockdog tracks on Spotify. He definitely has a voice that recalls the grit and authenticity of Bruce Springsteen, with band music that has the clarity of Tom Petty’s rock and roll. “Drive” begins with a descending acoustic piano pattern, quickly joined by tight drums, assertive bass and electric fuzz guitar. Johnny’s vocals are a block of stacked tracks, sounding like a younger man singing for the Moody Blues or another classic rock band. The song’s construction is basically the same chord sequence throughout, but adding depth and intensity at each step. The lyrics about “driving” could be about the literal act of car travel, but more likely are a rumination on this long journey we call life: “The road ahead, my friend, belongs to me and you… we’ll drive until the morning comes.”

This is an excellent single, but plays even better after checking out the larger musical spectrum that johnnyrockdog works in. An artist worth watching!

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Music has always had a way of delivering a message, but sometimes the challenge is striking the right balance between sincerity and accessibility. Quaint Delusions tackle this head-on with their track “Vexing #9,” announcing their intentions right off the bat: “Sorry to be so preachy but dang there's so much to be preachy about! Climate change has arrived, as predicted... Actually, this song could be about anything that vexes anybody. Choose your vexation. Apply liberally.”

"Vexing #9" lands in that sweet spot of mid-tempo psychedelia, offering just enough energy to pull you in without overwhelming. Its catchy vocal lines ride alongside swirling guitar textures, all grounded by a steady drumbeat that keeps the momentum fluid. The push-pull between sections creates a sway-worthy rhythm that feels effortless yet deliberate.

There’s an atmospheric richness here, with layers that shift subtly—guitars drop out, drums re-emerge with added weight, and the dynamics ebb and flow without ever losing the listener. It's lush and textured, but not so much that it obscures its underlying accessibility. In the end, “Vexing #9” is a carefully crafted track with a slightly ambiguous message, delivered with sincerity and a healthy dose of charm.

​It's as thought-provoking as it is easy to sink into, a balance that’s hard to pull off but executed here with finesse.