Emerging from Southampton’s music scene, Stone Branches have quietly refined a sound that feels both intimate and expansive, carving out a space that’s entirely their own. The band’s origins lie in the camaraderie of close friends—Matt Bialas (vocals), Nick Burton (guitar), and Ollie Hickson (guitar)—bonded by a shared reverence for acts like Palace, Coldplay, Foals, and Radiohead. With the later additions of Holly Barnett (drums) and Ashley French (bass), Stone Branches coalesced into a lineup that delivered their debut EP, Mantra, in December 2022, earning them airplay on BBC and positioning them as a promising act to watch.

Their latest single, “With or Without,” continues that upward trajectory. The track unfurls with a steady pulse of reverb-soaked guitars, dynamic drumwork, and a grounded bassline, all underscoring the lush interplay of vocal harmonies. Bialas’ lead vocals are the emotional anchor, showcasing impressive range and moments of striking intensity, particularly during elongated notes that feel like a blend of technique and catharsis.

The song’s standout moment comes in the breakdown—a dramatic shift that feels like a band-wide exhale before surging back with renewed vigor. As Bialas sings, “I’ll be saved / With or Without,” the track ascends into an ethereal arrangement of layered vocals, crafting a resolution that is both triumphant and bittersweet.

“With or Without” is not just a song about letting go of perfection in favor of reality; it’s also an assertion of the band’s own ethos: grounded yet unafraid to reach for something transcendent. If this track is any indication, Stone Branches are on the cusp of delivering something even more ambitious in the near future.

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G. Michael Peters has a knack for turning life’s trials and tribulations into stirring narratives, a skill that’s made his introspective songwriting resonate with a broad audience. His soulful delivery and contemplative lyricism—steeped in experience—lend his music an authenticity that feels both personal and universal. Following the success of Have I Lived a Good Life, Peters returns with “Long Way Home,” a single that sharpens his already formidable storytelling edge.

The track opens with atmospheric swells, anchored by Peters’ plaintive delivery of the title line, “It’s a long way home.” From there, it shifts into a country-inflected groove, driven by acoustic instrumentation and a distinct spaghetti western flair. The tremolo-drenched guitar and cinematic arrangement wouldn’t feel out of place in a Quentin Tarantino film, adding a brooding yet timeless quality to the song.

Peters’ vocals are perfectly calibrated for this kind of track, imbuing each word with a lived-in wisdom that feels unshakably true. His voice, paired with a searing guitar solo midway through, heightens the emotional depth of the song. The storytelling here is equally compelling—a reflection on a broken relationship and the elusive hope for reconciliation. Peters wisely keeps the narrative open-ended, making it relatable without veering into cliché.

​“Long Way Home” checks every box: evocative lyrics, pristine production, and performances that feel as natural as they are precise. It’s a song that invites listeners to linger, to sit with its melancholy beauty, and to feel the weight of the long road ahead.

gmichaelpeters.com

Singer-songwriter Jared McCloud comes from Minneapolis, Minnesota and a storied roots-rock background. His newest album is called Vacancy, recorded by Kevin Bowe (who’s previously worked with Etta James and The Replacements). McCloud describes his music “…as if Bruce Springsteen fronted Janes Addiction and played Steve Earle and Tom Waits songs.” Because of various personal upheavals, this is his first new album in 10 years.

McCloud began his career in hard rock and metal bands, but eventually decided to focus more on substance and went solo. Releasing his self-produced first record, he grew from small venues to large music halls. In 2009 he released his indie label debut “Romance Of The Atlantic” and reaped tons of radio play, press notices and musical instrument endorsements. He toured extensively, sharing stages with the likes of Candlebox, Soul Asylum, Vertical Horizon, Griffin House and the Meat Puppets. Fast forwarding through more albums and bigger successes, we have McCloud’s newest release dealing with a decade of turmoil, featuring songs about personal hardships and being a new father. He cites as influences Tom Waits, Chris Whitley, Motown and Bruce Springsteen. 

“A Kind Of Love That Will Tear You Apart” begins with aggressive thumping drums, Bruce-like keys and prominent crunch guitar. Though McCloud didn’t mention the band Squeeze, I definitely hear a lot of Glenn Tillbrook or even Liam Gallagher in his voice. This track rocks hard with perfect backing harmonies and a pop rock sheen that reflects well on McCloud’s celebrity production crew. “The Score” feels very much like the opening track at first, but already I can feel McCloud’s roots-rock bona fides coming through with some terrific fiddle accompaniment. The track is packed full but it all works together, with even a blast of backward lead guitar. There’s a cool ending where the master track goes into fast rewind.

“Tramp Like Me” starts firmly rooted in acoustic guitar with a gentle synth backing and earnest lead vocals. There’s a touch of jangle to the electric guitars while those eerie synth pads continue in the background. “Mama” takes an Americana tack, delving deeper into folky acoustic guitar with a simple kick beat and fiddle drone. McCloud sings like he’s delivering an Irish Reel, and when the hard guitars kick in they stick to that machine gun triplet beat. A great mix of styles here!

“Hello, My Name Is Standing Joke” clearly has the best title of the bunch. It’s got a hard rock attack worthy of Badfinger’s “Baby Blue” crossed with the the prairie smarts of John Mellencamp. The title track “Vacancy Blues” is the most earnestly acoustic of the bunch, with ringing electric guitar and grand piano as backing. I can really hear the Minnesota in McCloud’s vocals here, and the icing on the cake is a Clarence Clemmons-like sax solo. “Landscape” features Abbey Road-like tremolo guitars (and a bit of Paulie in the vocals, too!). This track goes from quiet to blasting in the most amazing way! “Stars & Hearts” is the second song I’ve reviewed this week that features actual children’s voices at the conclusion (“I love you, Daddy. That was a great song!”) but before that heart-tugging moment there’s lots of killer, propulsive rock to take us to the finish. The stacked electric guitar tracks are truly a thing of beauty, the kind of sound Billy Corgan would appreciate. 

There’s a total of 11 songs and they all demanded my attention and delivered joy in equal measure. You’ll see!

Laura Mock, a New York City-based alternative singer-songwriter, channels the vast contrasts of her roots in Bangor, Maine—serenity and storm, nature and city—into her music. For Mock, songwriting is an intuitive fusion of lyric and melody, arriving fully formed as one inseparable entity. Her studies with composers Beata Hlavenkova and Joseph Church have sharpened this instinct, lending her work a striking coherence and depth.

Her latest release, home//body, a five-song EP, unfolds as a vivid showcase of her artistic sensibilities. It opens with “Acadia,” a delicate ballad that begins with a soft piano and shimmering ride cymbal, enveloping the listener in an intimate calm. Mock’s vocal range is stunning here, her performance weaving seamlessly into the song’s lush orchestration, accented by subtle, evocative horn arrangements.

“Landlocked” pivots toward a guitar-centered arrangement, its melancholy tinged with a quiet resilience. The track walks a fine line between introspection and hope, offering a layered, motivational undercurrent. The ethereal “Ribs” then floats in, capturing the fragility of inner turmoil with a dreamlike quality that lingers.

“CTC” shifts the momentum, driven by standout percussion and Mock’s striking vocal performance, which commands attention without overwhelming the intricate instrumental details. Closing the EP is “Rocky Shore,” an unexpected turn toward country-inspired textures and organic instrumentation. Its playful energy and vibrant hook are a departure from the EP’s reflective tone, offering a buoyant conclusion that feels both surprising and satisfying.

​With home//body, Mock delivers a work that’s as cohesive as it is exploratory, highlighting her knack for pairing thoughtful songwriting with polished production. It’s an EP worth savoring, each track unveiling new depths with every listen.

Paul Bibbins, a guitarist and songwriter from Dallas, Texas, channels the restless energy of Jimi Hendrix in his latest release, Disenchantment at a Distance (REDUX). Paul wrote all nine tracks on the album, with four originally appearing on his Disenchantment at a Distance EP, released in September 2023. The full-length album, Disenchantment at a Distance – REDUX, expands on the foundation laid by the EP, serving as the culmination of that initial vision. With its high-octane guitar rock and unapologetically vintage vibe, the album nods heavily to its influences while carving out moments of individuality and spontaneity. 

The opener, “Bold, Beautiful…and Long Gone,” sets the tone with unmistakable Hendrix-inspired guitar phrasing. Bibbins doesn’t just mimic the sound; he leans into it, mirroring the iconic vocalist’s delivery with uncanny precision. The track feels like a love letter to the legend, brimming with soulful swagger. That being said Bibbins can let loose in a way that feels unpredictable which made me e 
“Up 25 High” takes a freer approach, blending Bibbins' intricate, fiery fretwork with a rhythmic foundation that flirts with the spontaneity of free jazz. The tight interplay between the guitar and drums anchors the song, balancing precision with fluidity. Similarly, the title track, “Disenchantment at a Distance (in need of a good song),” is another standout moment, where the guitar’s searing leads burn through the mix without losing the solid pulse provided by the drums. There’s a sense of improvisation where the notes flow like a stream of consciousness.

The blues-tinged “Wayward Son on the Blues” delivers a satisfying dose of grit, but it’s the frenetic energy of “Thrill Walk” that leaves a lasting impression making for one of the highest points on the album. Tracks like “Napoleons Wear the Big Hats!”, “Woman Across the Garden Wall,” and “Vista Valley Drift” keep the momentum going, offering variations on Bibbins’ formula without losing consistency in terms of songwriting or technique. Each song feels meticulously crafted, yet loose enough to let the spirit of rock ‘n’ roll breathe.

Closing the album is the evocative “As Love Rears Its Pretty Little Head,” a track that encapsulates Bibbins’ ability to fuse technical brilliance with raw emotion. It’s a fitting finale, cementing the album’s position as both homage and statement. 

While Bibbins' reverence for Hendrix is undeniable, his distinct personality shines through, proving he’s not merely a student of the style but an active contributor to its legacy. Disenchantment at a Distance (REDUX) is a celebration of the electric guitar’s boundless possibilities, drenched in nostalgia yet firmly rooted in Bibbins’ vision. There’s a lot to appreciate here and suggest listening from beginning to end. Fans of Hendrix—and of electrifying, unrestrained guitar rock—will find plenty to dig into here.

Pjos, an independent dreampop artist rooted in Poland but originally from Brazil, channels a melancholic, cinematic energy that feels both personal and expansive. His formative years, steeped in music through his father’s career as a professional singer, laid the groundwork for his current work, where echoes of live performance and Brazilian musicality subtly inform his aesthetic.

On Everything Was Taken Away, Pjos explores themes of loss and resilience with a sound palette that nods to M83, Mogwai, and Sigur Rós, all while staying tethered to classic shoegaze sensibilities. The opening title track leans into post-rock’s emotive builds and shoegaze’s textured haze, layering chiming bells, understated bass, and a steady drumbeat beneath a wash of static-like noise. While the track doesn’t venture into uncharted territory, its gradual intensification offers a meditative pull, balancing repetition with careful layering.

“But It’s Gonna Be Okay” shifts the tone slightly, opening with lush pads that envelop the listener in a warm, serene atmosphere. As the track unfolds, swelling waves of sound and minimal percussion rise and recede, creating a fleeting moment of calm that dissipates as quickly as it arrives.

​Pjos doesn’t reinvent the wheel here, but he doesn’t need to. Instead, Everything Was Taken Away feels like a well-worn sweater—a familiar and comforting collection of sounds for fans of early ‘90s shoegaze and the cinematic grandeur of his influences. While it might not break new ground, it captures a wistful intimacy that resonates.

Elle, a London-based composer originally hailing from Devon, crafts songs that are as lyrically poignant as they are sonically expansive. Rooted in a classical piano education, her music blends folk, classical, orchestral, and electronic elements into a signature sound that feels cinematic in its scope. On “The Hero,” arranged and recorded at The Chapel Studios in London, she demonstrates her ability to seamlessly marry sweeping grandeur with intimate storytelling, all through the use of sampled instruments.

The track begins with a soft, contemplative piano line, setting a fragile and dreamlike tone. Elle’s hushed vocals drift in, cloaked in reverb that adds an ethereal quality. Gradually, the arrangement expands—timpani drums rumble in the distance, dramatic orchestral strings sweep through, and a harp introduces a shimmering delicacy. These traditional elements merge effortlessly with contemporary pop production, highlighted by warm, golden horns that give the composition a rich and layered texture.

Lyrically, Elle captures the disorienting beauty of dreams, singing about their divergence from cinematic fantasy. Her voice shifts from gentle whispers to moments of commanding resonance, a dynamic that amplifies the emotional pull of the song. As it builds toward its climax, the track seems to ascend—breaking free from the dream’s illusion in a moment of catharsis.

“The Hero” feels like a journey through mystery and wonder, balancing its intimate beginnings with an epic, orchestral finish. It’s a meticulously crafted piece, cinematic in every sense, and a testament to Elle’s talent as both a composer and a storyteller.

Laughing Cats, the  duo of Lauren Schiff and Tony Fredianelli, draw their inspiration from the vibrant eras of pre-Y2K pop and rock. Deeply influenced by the musical renaissance of the '60s and '80s, their work pays homage to the timeless legacy of bands like The Beatles, who remain their ultimate creative muse.

Their latest single, "Jerk," the second release from their forthcoming album, explores the deeply human need for self-reflection and growth. It’s a sharp, yet introspective meditation on accountability, navigating the messiness of personal evolution and its impact on relationships. The theme is universal—whether you’re the one doing the soul-searching or merely caught in its orbit, the track lands with striking resonance.

The song opens with a pulse of '80s synth-pop nostalgia, grounding its retro aesthetic with a vocal delivery that feels self-assured and pointed. As "Jerk" unfolds, its hopeful undercurrent emerges, offering not just introspection but a sense of forward momentum. The lush production lends the track an ambient glow, capturing the tension between reflection and action—one moment urging a pause, the next propelling you to move.

​The standout, though, is its electrifying outro—a sonic apex that crystallizes the song’s emotional arc. It’s an exclamation point on a track that manages to be both tender and triumphant. With "Jerk," Laughing Cats prove they’re more than adept at crafting introspective pop that lingers long after the final note. If this is any indication of what’s to come, their upcoming album is worth keeping on your radar.

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Vanda’s “I Don’t Swim” finds the rising alt-pop artist stepping into deeper emotional waters, offering a poignant follow-up to her breakout debut, Sober In Another Life. This second single of the year is shaped by the grief of losing her best friend, a seismic event that has pushed her toward broader sonic horizons and richer lyrical introspection.

The track opens with a sparse, lo-fi guitar and muted humming, setting a stage of raw intimacy. Vanda’s vocals, delicate and tinged with melancholy, are soon joined by subtle layers of bass and atmospheric textures. The arrangement swells gently, with understated guitar fills weaving into the reflective mood like passing thoughts. At the 1:45 mark, a faint glimmer of hope emerges—a shift carried by drifting vocal harmonies that feel weightless yet grounded in sadness.

“I Don’t Swim” is a study in restraint, where every production choice feels deliberate, serving the song’s reflective nature without overstepping. There's a quiet type of yearning that comes through on the song which is earnest and vulnerable.

Fans of Julien Baker and Julie Byrne will find much to admire in Vanda’s ability to balance vulnerability with precision. It’s a quietly powerful piece that tugs at your heart strings.

Austin John is the middle name of Todd Austin John Elsliger, who’s also the singer/guitarist and founder of Toronto’s Austin John (the band). Recording and performing since 2006, this pop rock ensemble emerged from three years of Covid isolation with all the songs ready for its newest album titled Survive Each Other.

​Austin John has been featured on CBC Radio, Jazz FM, and CIUT while also performing at indie music venues across Toronto and Montreal. Its previous album “The Better Way Back When” was favorably reviewed by Pitch Perfect in 2021. The band mentions a diverse group of influences including Tears For fears, Belle and Sebastian, Elliott Smith, Kathleen Edwards, Steely Dan, The Replacements, Elvis Costello, Joni Mitchell, Wilco and The Shins. This new album features some of Toronto’s best musicians, with guest solos by Tara Davidson and Luis Deniz, keyboards by Stu Harrison, and a duet with Shannon Butcher. The songs themselves explore themes of mid-life crises, writer's block, injustice, fear of change, love that endures and a longing for stability.

Basic tracks were recorded at Rolling Pictures Studio with additional overdubs recorded at Elsliger’s Logic home studio. To these ears the album plays as clean as any full-studio production. Though the song topics are sometimes comically simple or simply comic, the arrangements are always expansive, detailed and exactly right. These songs are so good there’s no way I’ll be able to cover them in detail, but here’s an overview.

“Sadie” starts intimately with just Elsliger’s picked electric guitar and hushed, sincere vocals, then quickly adds a studio full of instruments including Rhodes electric piano, a horn section, tight drums and harmony singers. The lyrics are delightful (and going forward, they always will be) with little slice-of-life moments that bring this love song to vivid life (“You made sounds that kept us up all night / Made a mess of everything in sight…”). The sophistication of Elsliger’s arrangements approaches Burt Bacharach territory, which leaves me in awe. If that’s not enough, there’s a fuzzy but gorgeous guitar solo at the end.

“Irrelevant” is a song that put me in mind of Steely Dan, even before I saw them on the list of influences. The lyrics are very funny, describing a “new life” where the narrator is “not keeping up with every single trend… so what do I care what music all the cool kids are listening to? / But I do!” The piano work here is amazing and the fuzz guitar moments remind me of Steely’s “Reeling In The Years.” 

“Apples” has a main melody that’s similar to a soul hit I can’t place right now. It’s another jazzy tune with a laid-back vibe very much like Michael Franks, with an incredible horn section and more of those keyboards that seem to follow every note Elsliger sings. The song humorously deals with all the “bad apples” in life who wreck things for everyone else, in the thematic style of Alanis Morrissette’s “Ironic” (but making a lot more lyrical sense). “Stuck” takes a folky Simon and Garfunkel-like left turn with some especially nice vocals that are not overwhelmed by a big arrangement. It’s surely one of the sweetest songs about being artistically “blocked” I’ve ever heard! “Small Town” is an upbeat remembrance of the joys and intrigues of growing up in a tiny community as a skateboarding kid, learning guitar at school, and breaking the rules.

Though Austin John is overall a bit more slick and commercial than many of the band’s influences, I may be hearing a bit of The Replacements in the title track “Survive Each Other.” At any rate it’s probably the most rock-heavy song here. “In Love” is a gently-picked acoustic-style tune featuring gorgeous vocal interplay with guest Shannon Butcher, suggesting both Elliott Smith and his friend and collaborator Mary Lou Lord. The horn solo again takes me to Burt Bacharach. “Leave” sees the funk undercurrent of John’s music brought to the fore. “You Make” concludes the album with a John Fahey-style picking scheme and a final set of intimate and comforting lyrics. It’s one of the loveliest songs with some of the coolest fuzz guitar proclamations along the way. “You make me feel like myself,” Elsliger concludes. 

I admit I was thunderstruck by the quality of the writing, the playing and the recording of this album. It’s damned close to flawless and you’d love to own it!

toddaustinjohn.com