Lost Individual is a young folk artist from Vienna. He described himself as a singer/songwriter who champions the art of simplicity, and I think that fact speaks for itself in his music.

His latest single, “3am,” is a gift. There’s something beautiful about the idea of gifting a song to somebody, and that concept of pure love is captured within every intimate moment of this sublime acoustic track.

The finger-picked melody has such a soothing, warming quality to it. Lost Individual’s feelings for this person, the giftee, are certainly well-translated to music. He said he sought inspiration from photos and videos of the person he had in mind. The tender, hushed, and deeply-personal nature of the vocals and lyrics make that abundantly clear. It sounds like a soundtrack to a home footage reel.

His crooning, heartfelt and impressive singing is reminiscent of other fantastic folk-pop/folk-rock artists, such as Ben Howard. Lost Individual has a voice that evokes the same power and raw emotion. The harmonized vocals were particularly mind-bending. There are some real vocal ear-worms in this song.

​Lost Individual knows how to express his feelings for a special someone, but he also knows how to compose a technically-impressive and melodically-catchy folk ballad. And if he wants a strong single to gain an audience, then he has certainly picked the right one. I hope it lifts his music career off the ground.

Take one part lockdown shed, stir in a dastardly virus and season to taste with sad-sack influences like The Cure, Suede and Pulp. The result: an ear wrenching chain of post-punk buzz n’ drone, masquerading as lite goth, and – quite aptly – calling itself The Drowners. The Evening World Comes Out to Meet You is the debut EP of this Western Australia-based outfit. And while it isn’t dark just for the sake of art, the “repurposed alternative pop” spread among five tracks certainly fits the scope of its title. Namely, within the space of 19 minutes, the band lean heavily on morose tonality, while lyrically tackling subjects as random as party escapes, astrology and wine stain carpet treatments. No, this isn’t a late night infomercial, but it is an exploration of the antipodean psyche with curtains drawn.

And, oh, hey(!), is one of these guys sporting a mullet on the album cover? That's certainly worth an ironic style point or three. When in doubt, tongues generally fit well into cheeks (particularly if you’re not tasked with a lead singing role). A glance at the band’s Instagram feed further exemplifies this offbeat jest through the lens (pun intended) of droll absurdity. And since these visuals bleed nicely into the song structure, we’ll forgive them for asserting their ruination over the local art rock scene.

“The Evening World Comes Out To Meet You” opens with pulsing bass, warmth and vibration, all of which capture the atmosphere of an after dark milieu. The song doesn’t gain much ground, however, which is very likely the point. Pissing firmly in one spot, it marks a sonic stain that neither develops nor dries, but rather, rumbles on muscularly. Likewise, “Remember Everything” pays homage to a stiffened Joy Division groove. Droning keyboards set the tone for a quick fingered night drive; lasered head beams optional. 

By “Lay Me Down,” a raw discordancy takes grip. The track is plastered with buzzsaw jerkiness and cruel, mechanized noises, borrowing David Bowie production values from The Idiot. “The Speed Of Light Is Very Fast,” besides stating the obvious, features a spate of drunken guitar noodling. This is a sentimental backfire, an attempt at stripped down soul-searching that plays too threadbare with its vocal hiccups. Fortunately, the closing cut, “French Exit,” reverts to form. Here, a sleazy beat meshes with serviceable bass, resembling a holdout tune from the Laid period of James. It lurks and rolls, ad infinitum, which in the context of the band's tapestried atmosphere, makes for a rewarding listen.

​Boasting no distinct pivots from verses to chorus, the Drowners instead plows right through. There’s a remarkable density to that mantra, a workingman’s temperament upon a decidedly non shop-pail record. The fact that they’re crafting this music “for nice people” sugarcoats the cost of that inclusivity. In truth, you’re either happy to listen or you’re in the way. Or, you’re rocking a mullet. The evening world comes out to celebrate sardonic hair, too. 

Alt-folk musicians Ajita Cannings and Michael Turner met and fell in love in a hospital room, and they drop this factoid like it’s no biggie! Hailing from the mud flats of Bundjalung Country in Australia, they formed a duo called Bella Frankie (the names of their two dogs) in 2021, with their debut album Falling In The River being released in 2022. Ajita Cannings sings and plays ukulele and autoharp, while Michael Turner also sings and plays guitar, percussion and bass. They are joined by Nick Fisher (drums/percussion), Phil Levy (banjo), Natasha Kraemer (vocals/cello) and other North Coast musicians whom I will mention along the way.

The band’s press release describes this album as “a genre-crossing folk, pop and blues experience. Michael and Ajita share their journey from meeting in a hospital room last year to recording on a remote island in Tasmania and how music played the arrow in cupid’s bow for the couple.” Recording took place on Flinders Island in the Bass Strait in Australia, with additional tracking at a home studio. Production was by Michael Turner with mixing and mastering by Nick Larkins at Beatnik Bunkr on Pro Tools. 

“Annie & Mary” opens the set with a clap-along folk pop gem, instantly memorable and hummable. The band notes that the basic tracks were recorded live with a lot of mics, which results in a bit of “distance” in their sound. Having tracks with a lot of inherent room ambience requires that overdubs must be carefully planned and mixed, so that they don’t sound like intrusive close-up additions. Bella Frankie call this a “lo fi” sound but I’d argue with that; it’s more of an organic, lived-in sound, with a retro style that Alan Lomax would have been proud to discover. 

“Seaside” features lots of happy, pretty vocals by Cannings, and all sorts of folky accompaniment like Steve Gilbert’s harmonica, Natasha Kraemer’s cello & backing vocals, and Nick Larkins’ jews harp. The lyrics paint a picture of a relaxing day at the seaside without a trace of guile: the emotions are all right at the surface, and they involve a lot of fun. “Ajita” is named after the band’s co-leader (of course) and features Matt Bone on double bass (like the previous tune). It’s got a distinctly Spanish feel, with suitably trilling acoustic guitars. 

“Don’t Let Em Come” features guest David Dixon on double bass, though Steve Gilbert’s wild man harmonica grabs your lapels during the solo section. At this point Cannings and Turner are starting to remind me of Geoff and Maria Muldaur, whom I wouldn’t doubt was an influence on these two. Speaking of influences, “Wolf” is a cover of a song by the two-woman band First Aid Kit. I don’t know the original tune but the version here is like a dramatic folk tale set to music, with haunting harmonies, ghostly autoharp flourishes and distant wolf howls. The steady instrumental build is a thing of wonder. Standout track!

“The Sun” is a song about love as refracted through the warm rays of the sun, and as such feels sweet and intimate, and without as much distance between Canning’s lead vocals and the listener. Especially nice acoustic playing here, with essential backing from Natasha Kraemer’s cello. The closing harmonies spark pleasant memories of The Roches. “Rumi” plays with a similar vibe, and is said to “explore the great folk-music themes of community.” The lyrics are touching and evocative (“If I had a mum and dad like yours i’m sure / I could be anything anyone anywhere / Better than I am now”) and is another instrumental wonder where all players are dead-center in the pocket. 

“Voodoo” concludes a run of songs where the vocals and background melodies are a bit on the darker, yearning side, though the choruses hint at the smoky jazz of Diana Krall. For me the sentiment and spooky effects might be a little on-the-nose but I can’t deny it’s a great track. “Two” appears to be an autobiographical song about the birth of the band leaders’ love story, toasting their new relationship with “alcohol free wine from paper cups” while sitting “on the tiled rehab floor.” It has the charms of a ‘60s folk classic, though with a loose and organic performance.

​Listeners who enjoy folk or acoustic instrumental music will find lots to love here, even if you’re not at the hospital. Worth checking out!

New York City-based rock band Lonnieclaire is best known as an expressive independent rock band with a history going back over twenty years. The band recently released Livin' with a Ghost which is a five-song rock oriented EP.

The band mentions “The band’s sound could be interpreted as a collision of both grunge and roots rock, in other words: ‘garage Americana’.” I will say they do have a pretty original sound that was hard to pinpoint. 

They open with “Rusty Hardware” which starts with a build on the drums, guitar and bass. The groove is funky but also off-kilter. It was an interesting combo. Once the verse comes the instrumental aspects simmer down to give way for the vocals. The vocals are enthusiastic and I liked the long atmospheric elements they were providing. Some of the vocals are a little off key but I thought it contributed well enough to the raw aspects of their sound. It’s a solid opener.

The title track “Livin' with a Ghost” begins with robust bass parts, drums and long synth pads. The song builds into the verse. There are multiple vocalists here but it was hard to tell if this was just one person doing multiple parts or not. Either way the vocals are well done and the tone and texture of the delivery was unique sounding. The vocalist sings “Grasp your flames / And keep the embers deep in your pocket. / Own your dreams and fill his casket with your flowers.” I really enjoyed what was happening with the guitar work around the two-and-a-half minute mark.

“Kick in the Ass” is a great one and an arguable highlight. The song is a little more straightforward but all the elements are in place for me to start to recognize their signature sound. The drums drive the song and the guitar was again very good. It reminded me of the band Dinosaur Jr. 

“Senseless Circus” revolves around fuzzy guitars, a rocking beat and more of the garage rock style they mentioned. This song is more in the spirit of a band like Guided by Vocals. It’s wild and unhinged. There’s also a sense of rebellion to the music. 

“Flock o' Fakes” was a little darker and I loved how this song started. They find their footing and rock out hard. The vocal melodies are infectious and I have to say these are some of the more original lyrics I have heard in recent memory. The vocalist sings “This broken saddle holds a hippie burnout mercenary / ready to disappear one last time into the dusty prairie / I just met a biker chick who smells like opium / I wanna be her friendly giant who says ‘Fe-Fi-Fo-Fum’.”

​Overall, this was a fun EP. The songs were well written and you get the sense the band is having fun. Recommended.

official website

JordanA is a bi-coastal outfit with Jordana holding down the west coast bay area vibe and Jordan in Brooklyn. The duo met in Brooklyn in 2014 and were interested in exploring some new sounds and directions which would eventually become a four-song EP entitled Wild Wild.

They mention “This album was grown in response to the stirring and unraveling of a world on an uncertain path of change. The paradigm of ‘reality’ was wavering against a stream of political and personal turmoil, and our hearts and bodies were alert and alive. We were holding disbelief and grief, and a fierce energy to stand up for love and justice, fearlessness and hope.”

The EP begins with the title track “Wild Wild” which combines a funky upbeat groove with a misty atmosphere and a slight sense of melancholy. There are a lot of different textures and tones and the song is very dance worthy but also quite dynamic and catchy as well. I loved the vocals right off the bat and found the melodies to be infectious and memorable. Great opener.

“Paralysis” starts with soothing vocals and airy synths. It’s got a meditative feeling to it. There’s a swell in the beginning which leads to an even more lush verse. It’s got an intimate feeling and covers you in warm textures. The vocals sound great as Jordana sings “I woke up to a ghost / Laying on me / Spoke to all the loss / Praying on my dreams / Giving all I got / Oh the day screams / And I'm banking on my heart…” As the song progresses there som additional layers which add some extra energy.

I absolutely loved the electronic groove on “Projection.” There are a number of synths working together which have symbiotic relationships that sound really good together. On the verse, things break down with an electric piano and vocals taking the lead. The song is dynamic. Layers drop and are added again to create a killer mix that’s engaging. Similar to the previous song the vocals are well delivered and there are some occasional effects which are implemented.

“Little Boy” is the arguable highlight. I loved the dirty drum sound they achieved on this song. The song snaps and the vocals are soulful. There’s a lot of ear candy but it’s the vocals that bring it home. Jordana sings “They say you are the man / They say you'll make a stand / They say honor and pride / Will we live, or / Will they die.”

​I thought this was a great EP from beginning to end. The songs are well written and the production is also top notch. I look forward to hearing more from the promising band. Recommended.

Chris and Brian aka Resonant Reflections have known each other since 1999. They have a history together making music and recently released an EP entitled The Great Divide. They mention “Our music is mainly rock or alternative rock. We have roots from The Beatles, Pink Floyd, Tool, Led Zeppelin, Sound Garden, etc. For themes we are heavily conceptual, but more recently found a way to make our songs appeal to the masses, but with the same storytelling. As for the muse, we tell the hero’s journey (balance between good and evil), as well as the social political divide.”

The first song is entitled “The Climb” and I noticed the ’70s influence right off the bat. I liked the great tone and everything felt smooth. There is also a nice use of soaring atmosphere which seems to be another guitar. The vocals are catchy and I felt the song was quite motivational. It’s a solid opener that got me engaged and I was ready to hear more.

Next up is “Beyond Judgement” which starts with a heavy drum beat and a more mysterious type of sound. It reminded me of the band Tool as they were more into Pink Floyd. The chorus however is more straightforward and aligns with ’70s classic rock. The vocalist shows off his range here. He reaches the limits of that range on the chorus but still sounds good. This is another solid song. 

“We’re So Close” was very interesting. It begins with what sounds like it could be a harpsichord that combines with a xylophone. There’s this wicked transition around the twenty-second mark that leads to the verse. As the song progresses it blossoms with acoustic guitar chords and other instrumentation. It’s a very hopeful sounding song when the chorus arrives. 

“When Somedays” had a little Tom Waits thing going on at least in terms of the music. There’s a mix of pads, guitar and drums. The vocal performance is very expressive on this song, almost a little too expressive at points.  I also thought the piano was well done in the song which highlighted certain sections and was able to change the mood of the song.

Up next is “Gotta Come Together” and I loved the more mysterious and pensive energy. The electric piano sounds great. I also thought this song contained one of the best vocal performances. The tone is just about perfect and the vocalist stays within a natural range. I also liked how the song felt more joyous as it progressed.

Last up is “Looking Glass” which is the arguable highlight. This song had the most cosmic vibe and aligned nicely with Pink Floyd. The music is ethereal but also quite epic. I loved how grand the chorus was in particular. There’s also some very cool sound design on this song.

​Fans of ’70s rock should enjoy this most but I found their music to be accessible because of the hooks and top notch production. There’s a lot to appreciate here so take a listen.

official website

Ampersand is a duo hailing from Chicago that recently released an EP entitled My Vices. They mention “Our music is alternative/indie rock. Some of the influences on this record come from mainly Arctic Monkeys, The Neighbourhood, Boy Pablo. First two tracks are clearly inspired by Arctic Monkeys from their older album Humbug.”

The EP gets going with “Hazed Up” which is a reverb laced and dreamy song. It revolves around a steady but slow beat, a syncopated bass line and clean guitars. The vocals sound good and there’s plenty of space for them in the mix. There are some very well done lyrics are well. The chorus pops when the vocalist sings “They fancy you, oh well they looked pretty (Pretty, pretty high) / The lights came up, now she is leading to.” I liked that the song ended with a guitar solo.

“Momentary Bliss” is a highlight. The song sounds like a mix between spaghetti western and surf. I loved the guitar work on this song. There’s a sense of danger and mystery to the song that I appreciated. On that note the song is also quite fun. Once the chorus hits, the vocalist goes into falsetto mode and works well. They sing “And if you like to see me crying / You will enjoy smoke my ashes / I see you feeling overzealous / Down in the corner eating fellas.” The best part of the song is around the two-and-a-half minute mark where the snare starts to roll with sixteenth notes from the guitar and leads to an explosive outro.

Next up is “Baby Blue” which reminded me a bit of Mac DeMarco in terms of the production but also the vocal delivery to a certain extent. The music sounds great. It’s vibrant and clean but also sounds quite chill and relaxed. It’s a combo that works and is the arguable highlight in the batch.

Last up is “Memento Mori” and is sung in Spanish which switches things up. The mood of the song is a little more melancholy. They sound good with this energy. The vocals sounded especially good and I thought the faint organ mixed well with the guitar. I also thought the very light percussion worked well in the song. It’s a great closer.

​I liked all four of these songs and thought this was a solid release from beginning to end. The duo hasn’t been making music for long so this is hopefully just a taste of what else is to come from the duo. Take a listen.

Dalrymple and the Wild Daimons is a hard rock band, consisting of three members who go anonymously by this moniker. Frontman Dalrymple has been around the scene for decades now and is releasing is brand-new single “Blood On The Concrete.” The artist says that he was from Detroit, MI, originally and that the lyrics were initially a poem that his father, Bill Sheets, wrote that he dedicated to the high school students of Detroit. Long story short, his father gives him a call and asks him when he’s going to record it. Dalrymple had turned the poem into a song back in 2004 with his first band, Y KILL K, but they never recorded it. The artist can’t believe that a song which he wrote back when he was 21 would become his 100th song that he’s released into the world. 

Once you hit play, you’ll be hit by the immense ambience of the track as some noodling comes across on the guitar and some other-worldly synths. Next, Dalrymple’s vocals come across like a wail as the ghostly vocal background harmonies take shape. 

What I noticed from the get-go is that Dalrymple’s vocals are fraught with feeling. Next, the music becomes more adamant as Dalrymple belts out the lyrics in a scream-o fashion. The soaring electric guitar solos definitely reel you in. There was something so theatrical about this single that reminded me of the Rocky Horror Picture Show.

​The lyrics talk about the grittiness of life on the streets and together with Dalrymple and the band’s bold and daring execution made for a great listen. I think it’s especially Dalrymple’s singing style that will really take you to the streets of Detroit and through his and his father’s vision, show you something truly relevant and that speaks of the times. The band has been making music for a while now and it shows in their on-point delivery and synergy. I look forward to seeing perhaps a full-length release from them soon!

official website

San Francisco freelance recording artist Devin Farney has a wide variety of releases, tv/film syncs and other productions already under his belt. His summer 2022 full-length release "Is/Was" was well-received and reviewed. Farney’s brand new release Gone With the River, continues exploring the artist’s style of music at its most MIDI-free and organic. The five chamber-pop vibe tunes are melodic at their core and piano driven, but also feature other instrumentation like strings, organ, electric piano, drums/percussion, guitar and pedal steel.

Farney calls Gone is the River his ecological" EP, as the songs all deal with themes related to environmental upheaval, such as droughts, fires, continental drifts, hurricanes and those who think climate change is a hoax. The EP was recorded at Little Green Shack Studios, Bay Area, California. More about Farney’s work and background can found on his website  If you like a little retro, a little contemporary orchestral, soft rock, pop, with lyrics that are meaningful and a music production that’s top notch, I think you’ll like this EP.

The opening track “In Heaven” is a softly sung, softly played, gorgeous tune. It has such a pleasant, soundscape-ish melody, I couldn’t help but smile at how enjoyable the mix of instruments sound together. There are so many beautiful sounds and intricate arrangements here, I had to listen to specific parts of the song again just to hear how everything flowed together. The organ and twangy lap steel, piano and mellow arrangements remind me of bands like Elbow, perhaps a Keane or Coldplay tune - but there was a lot of old school vibes I was feeling, too.  And lofty, soft feel to this opener, made me think of floating on clouds. Next up is “Invertebrates (Back Where We Started)” that features a gentle rhythm, and a mix of organ, flute, double bass, chimes or a Glockenspiel, and I think an accordion, too. The sound of everything, the ’60s like orchestral instrumentation reminds of a lot of what Brian Wilson did on Pet Sounds or Smile or R.E.M. on Automatic for the People. The next track “This is Fine” has got a fun, danceable mix of soft funk/jazz, pop and a soft ‘70s rock vibe. I could hear a little Carol King in the beginning, a little Beatles, ELO maybe, but then this rocking beat comes in mixing in yet another style. A fun song to listen to. 

Moving on is “Yours to Keep” and it’s played primarily on the piano. The most chilling aspect on this song is the last note played, I think’s it’s a flat or minor chord. It’s the chord or certain note that makes your spine tingle - at least it did for me. Lyrically, Farney writes about a ‘conversation’ between the earth and humans. As if the earth says to us humans, “hey, you know, you really made a mess of everything in this once great environment it took so long to make, which supplied your every need - but now, well, what’s left of it is yours to keep… yours to keep.” It’s a timely reminder that our earth’s resources and creatures are changing drastically, some to the point of endangerment and extinction.

​The last track “It’s a Hoax” begins with a theatrical introduction, like a mix of Jesus Christ, Superstar meets Free To Be, You and Me. But shortly after, Devin switches into a super soft, chilled out ‘70s pop ride, which flowed very nicely. I could hear so many styles and influences in this song, from such bands and artists like ELO, Supertramp, Elton John, Paul McCartney and Wings and Harry Nilsson. I absolutely loved this last tune as well as the entire EP.

official website

THE TERRITORIES WEST is one of the latest in a long line of releases from felix danilo. This prolific singer/songwriter is churning out lengthy records left, right, and center. That’s always a good sign to me. It tells me that a musician is bursting with creativity. And that’s abundantly clear on THE TERRITORIES WEST. 

“a time of change (intro)” is an ultra-dreamy opener that sets the tone for what proves to be a beautiful and soothing album. Spectacular guitar-work. That only improves on the second track, “nowhere left to run.” I adore the western style of the riff on this one. There’s a cool, blues vibe to the melody, but there’s still something ethereal and otherworldly about the sound, especially when the synths kick in during the second half of the song.

“bang bang (my baby shot me down)” is a fantastic cover, featuring spectacular vocals from a talented singer. The original song is iconic, and felix danilo. definitely does it justice here. No complications. Beautiful guitar guitar, synths, and reverberating vocals in an intimate setting. What a track. I don’t know whether it’s Nicole Obren or Kayla McGee singing, but the singer definitely deserves high praise for this performance.

“heartlands” is driven by stunning, plinky guitar notes. The tone on the guitar is gorgeous on this one. Another dreamy, beautiful work of art. Again, I’m not sure whether it’s Obren or McGee singing, but there’s such beauty in each tender note sung; these singers know how to perfectly match the dreamy aesthetics of these songs. In an unexpected twist, a sudden, muted, distant drum beat bursts into view. This added a little bit of variety to an album dominated mostly by guitars and synths (admittedly beautiful guitars and synths). I think the lead guitar melody in the last section of this track is mesmerizing, too.

“the territories” is a recording of what seems to be some sort of western town, and it leads into the fittingly-western “by his father’s grave.” The bluesy riff, pounding beat, and deep, powerful singing merge to form a dark, groovy masterpiece. This tune is definitely one of my favorites on the record. “national park (14.04)” certainly deserves a shout-out for its alien synth warbles and dreamy, folky guitar passages and “shaman (interlude)” features a hauntingly spectacular synthetic noise. “southeast of ballard, utah” is certainly the most sinister-sounding track on the record, though. The guitar-work is truly note-worthy on this one; that has to be said.

​“a memory, an escape” has a saddening essence. It’s wonderful and heart-breaking in one fell swoop. The guitar, as always, is absolutely superb. It was “someplace/else” that really impressed me, however. I thought I’d heard everything that felix danilo. had to offer, but the production on this track is sublime. The synths and songwriting blew me away. And the guitar-work, later on, is as hypnotic as always. Great track. Brilliant, in fact. “end credits” closes out the album on a somber note with a beautiful but melancholic chord progression. That being said, there is something epic about the swelling strings and layered guitar-work. It sounds like it could be the outro track to a western film. The whole album, actually, feels perfect for a western. Wonderful work.