The latest offering from New England's The Fretbenders, Long Overdue, embodies an authentic blend of Americana rooted in blues, folk and country elements. Led by Diane Kordas, whose prowess extends from lead vocals to songwriting, and complemented by Robert Kordas on vocals, dobro, slide guitars and banjo, this album serves up a delightful mix of foot-tapping melodies infused with humor and exceptional musicianship. It's a fusion where the charm of a rustic barbecue converges with the allure of a speakeasy. 

The album kicks off with the timeless and classic "Somebody Left Me With The Blues," showcasing jazzy vocals and finely executed instrumentation—a strong opener that sets the tone. "Will You Be My Darlin’ Anyway" offers an intimate, reflective vibe, while "Long Cold Winter" transports listeners to another era, evoking a sense of timelessness fit for a festive gathering. Consistency in songwriting is a standout feature here, with highlights like the beautifully melancholic "Empty Pocket Blues," cleverly adorned with nods to Musk and Bezos. "Sunrise on Saturday" exudes sheer joy and relaxation, akin to basking in the warmth of vacation rays while holding a drink. 

Meanwhile, "Yes I Guess They Oughta Name a Drink After You" feels like a boozy anthem, wheezing along with the delightful inclusion of mandolin in the mix. "Wandering Soul" emerges as a striking beauty, showcasing one of the album's finest vocal performances. The infectious quality of "Everything is Free" carries a '70s flavor, resembling a potential single, while the closing track, "Long Overdue," infuses a distinct bluegrass essence, serving as the album's titular and fitting culmination. 

​Overall, Long Overdue is a splendid musical journey, boasting impeccable songwriting, delivery and production values throughout. It's an album that deserves attention and certainly warrants a listen.

fretbenders.com

North of Tomorrow is a Phoenix, Arizona prog collective made up of longtime musical collaborators Gary Adrian (bass/pedals/vocals/keyboards), Brian Mueller (guitars/keyboards/vocals/loops) and Stephen Rogers (sonic analyst) along with drummer Maurizio Antonini and several guests across 12 songs.  

North of Tomorrow’s intention is to “present something different with each musical idea, without the confinement of one particular genre. The goal is to create music that yields something different with each repeated listen.” They list as influences a wide group of artists including Peter Gabriel, David Bowie, Pink Floyd, Talking Heads, Frank Zappa, Radiohead, King Crimson, The Who, Todd Rundgren, Weather Report, David Sylvian, Led Zeppelin, The Black Crowes and Miles Davis. Mastering was by Bob Katz at Digital Domain in Orlando, Florida.

There’s twelve great tracks here that average over five minutes each so I’ll touch on my favorites. In general the vibe I got from these guys was similar to Steely Dan, whose main objective was to sound like a real, working band even though they used studio musicians and guests. The jazz-prog feel of some of these songs is similar to Steely Dan as well, though most are more experimental. 

The opening track “Late Again” is the first of four to have an accompanying video. The rhythm track kicks in with an eerie, Twilight Zone vibe and the florescent colors onscreen vibrate along in perfect time. Once all the instruments have joined in, we have a very full, busy track where the sounds interlock so seamlessly it’s hard to tell what you’re hearing. The laconic, soulful lead vocals sound like a cross between Peter Gabriel and Phil Collins. The guest players are Kleber Sampaio (harmony vocals) and Joe Karakatsanis helming the sweet concluding guitar solo. The video is basically a montage of arguing couples where one of the partners is “late again.”

“The Pretenders’ Ball” makes a quick detour into reggae, and is another song with a video. Aside from another great beat, the guitars add to the percussive force by playing muted rhythmic notes. The choruses are singularly weird as they modulate to major chords but still with a lot of sepia shading. The mid-song guitar solo is by Leo Estalles while Sam Hunt provides harmony vocals. “Catbird Seat” is a more mellow, jazzy excursion with really nice chorus vocals (Brian Bringelson sings harmony) and some excellent guitar work by Theophile Flayvi plus wailing Yes-like keys by Nate Rendon.

“It’s Always Something” has an upbeat, walking rhythm (in fact there’s a cyborg walking in the video) with lots of emphasis on Damiano Della Torre’s percussive keys (like xylophone or marimba) and the “textures” by Phineas Brady. This time lead vocalist Gary Adrian sounds more like Phil Collins while Michael Kentish adds harmony vocals. The video is the most head-trippy yet, with bizarre graphics bathed in acidic colors. Definitely worth a look! Keyboardist Torre also takes a crazed solo with at least two layers of wild Moog-like improv. “The Boojum Tree” recalls the trippy melodies and rhythms or Material, with very cool wah wah trumpet by Patryk Rynkiewicz and uncredited ghostly background vocals.

“Little Things” starts with that distinctive amplified acoustic guitar sound. It’s a weird comparison but the guitars have the same sweet chiming sound you might find in Seals and Croft or Cat Stevens. The distant percussion (by Andrew Munger) has the feel of intricate watch works and the stereo mixing of the keyboards is quite striking. Kareen Vargas provides harmony. An amazing track! “Kentucky Burden” at first seems like the obligatory country rock tune, but the intricate lead guitar by Garrett Moshier and the spacey pedal steel by Hamilton Beck and Jack McLoughlin take us right back to classic North of Tomorrow territory. The final third even sounds a bit like Frank Zappa, partly thanks to the especially amazing drums by Maurizio Antonini. The a cappella ending is just the icing on the cake.

“Who Killed Love?” is a modern-sounding space-pop gem featuring an orchestral arrangement by Anuj Chandrasekharan along with trumpet (Patryk Rynkiewicz) and all-encompassing keys by Damiano Della Torre. It’s like a thick, unhurried block of sound created by a thousand different kinds of reverb. “The Whole World Stopped” is another space-funk jam featuring guitars by Andy Ridgeway and Jerry Benjamin. Lovely harmonies as always, this time by Luna Skopelja. 

“This and That” is the last track and also our final video. This track is like the wildest Weather Report, the coolest Zappa and the most intense Pink Floyd mashed into one. This is the only track where Justin Mirack takes the drum seat, and also features the fearsome riffing of Kotzky Vendivel on guitar and the “textures” of Joao Moreira. As befits the music, the video is a series of pixilated, solarized images that make for a fine visual backdrop.

​There’s so much here I’m still not sure exactly WHAT I’ve heard! But there’s enough to know you’ll find something within this album to enjoy and even elevate you. Beyond recommended!

northoftomorrow.com

QUAERY emerges as the brainchild of seasoned musical collaborators Erik Schee and Scott Christopher, melding their folk and pop roots with a venture into fresh sonic territories influenced by the contours of contemporary R&B and indie currents. 

Their sophomore EP, Dark Magic is Real, unveiled on September 29th, 2023, marks a self-contained exploration, with Christopher and Schee at the helm of songwriting, performance, production and engineering. Kicking off with "Melon In Melancholy," the EP sets its tone with an atmospheric intro steeped in meditative stillness, guided by ethereal synths that gradually find synergy with the vocals before the percussion entwines itself into the mix. The track flirts with dance-like rhythms while veering into ambient spaces, showcasing intriguing production and lyricism that's as captivating as it is enigmatic. 

The tantalizing mention of a "Serotonin Toga Party" adds an extra layer of intrigue, culminating in a lush and introspective instrumental outro with faint echoes of post-rock resonance. In "You Could Be You," a similar emotional cadence resonates. The seamless fusion of introspective verses with buoyant, optimistic hooks creates a compelling contrast, as airy synths intermingle with a fascinating interplay of instruments, blurring boundaries in innovative ways. The cyberpunk aura permeates "Don’t Say It," exuding a futuristic, neon-lit vibe through its evocative soundscape. 

​The track's infectiousness lies in its catchy, gradually building up to a crescendo that culminates in a hook that lingers in the mind. The cohesive thread woven through these three tracks knits the EP together seamlessly, evoking shades reminiscent of the Postal Service while carving out a distinct identity. Dark Magic is Real offers an enticing musical tapestry deserving of exploration and appreciation. Dive in and discover its allure.

quaeryband.com

Myles Hildebrand is the brainchild behind Myles From Home. He’s joined by a band that is described as “folk rock going on a successful first date with jazz funk.” 

Their recent single, "Don’t Get On The Train," is a vibrant testament to their fusion of folk rock and jazz funk—a musical rendezvous that feels like a successful first date. From the get-go, the track emits festival vibes, brimming with cathartic joy that beckons movement. 

The opening riff intertwines a jam band's free-flowing essence with reggae undertones, swiftly escalating in energy, crafting a dynamic interplay between loud and soft beats. The infectious groove, complemented by a harmonica's soulful touch, dances seamlessly amidst the bass and other instruments through the composition. 

Notably, the descending horns on the hook meld into the mix, adding a compelling layer to the track. The triumphant outro serves as a celebration, harnessing the full vigor of the horns in an all-out jam session that smoothly segues back into the vocal-led section. Hildebrand's vocals shine brightly, exuding heartfelt emotions and showcasing an impressive range.

"Don’t Get On The Train" effortlessly radiates good vibes, making it an easy recommendation for anyone seeking a joyful musical experience. I think fans of  Mumford and Sons, The String Cheese Incident and other like-minded bands will appreciate this most but think this has broad appeal overall. Take a listen.

Swallowtail and the Kaleidoscope, the brainchild of Matt Armbrust and Emele Clothier, emerged in 2021 through a serendipitous connection. Clothier, known for her role in the acclaimed Horse Crazy Cowgirl Band, sought a bassist for her 75th birthday show and reached out to Armbrust, a globally recognized composer and classical violinist. Their initial interaction, sparked by Armbrust's query about compensation, led to an immediate musical partnership that blossomed into frequent live performances. Their collaborative synergy culminated in the creation of Electric Horse, an album defying categorization and embracing the label of "indiecana." 

Clothier contributed songs steeped in her five-decade solo career, channeling influences from revered artists like Buck Owens and Joni Mitchell. Meanwhile, Armbrust weaved his musical tapestry by introducing pieces from his repertoire and crafting new tracks inspired by an eclectic mix, spanning from Fugazi to Peter Gabriel and even J.S. Bach. The album's allure lies in its ability to straddle the realms of timeless nostalgia and contemporary innovation. 

Opening with "Tailspin," the record immediately captivates with its psychedelic and warm tones, showcasing Clothier's vocals. "Horse Of Cards" introduces Armbrust on vocals, steering the listener into a realm that melds rock sensibilities with echoes of Johnny Cash. "Let’s Take a Walk" encapsulates poignant melancholy, driven primarily by vocals and piano, exuding an ineffable sense of familiarity and timelessness. In contrast, "Clouds Pass By" embraces a carefree aura, its full-bodied orchestration embellished with subtle wood flute melodies. Highlights abound as the album unfolds; "Bird of the Winter" stands out with its finely tuned recording and mid-energy, evoking the ambiance of a late-night dive bar. 

As the track list progresses, each composition maintains a high caliber: "Rains" evokes a cinematic 1950s ambiance, while "Electric Wave" infuses a ragtime-esque, jazzy flair. The album's tranquil closer, "Between Peter and Pan," reminiscent of Sufjan Stevens, encapsulates a serene stillness that rounds off the journey. 

​Though some tracks exhibit slightly superior mixing, the album, on the whole, delivers a consistently enjoyable experience from start to finish, offering a tapestry of great songs that traverse an eclectic musical landscape.

reverbnation.com/swallowtailandthekaleidoscope

Nachtlicht the band was formed in October of 2022, and they just released the group’s third single titled “14 Minuten.” The band is composed of Das Ö (guitar/bass), Lompecard von Nachtlicht (vocals) and Myrddin (drums). 

Nachtlicht’s songs are described as “experimental, complex, provocative, contemplative, philosophical, artistic and very much off the beaten path.” They all have a “general gloominess and melancholy in common, with no two songs sounding alike.” Stylistically the band resists being described within a single genre, though a common theme is “darkness and a gothic atmosphere.” Their new track was recorded at home and also mixed by the trio using Studio One 5, with the drums recorded in the band’s rehearsal room. 

Aside from the single, there’s also a lyrics video which doesn’t help me too much as the words are in German. However I’m informed that they tell a narrative story about Wikileaks founder Julian Assange, while in a broader sense addressing “the anger when facing problems in the world that the individual cannot change.”

The music here is what I’d describe as very strident, stripped-down trio rock with a 2/4 beat and a paramilitary feel. The guitar and bass have a raw punk energy I really like, while the vocals are guttural, to say the least: phlegmatic narrating, chants and screams. It’s undeniably catchy and you could certainly dance to it. The middle section slows things down to a sedate 4/4 so Nachtlicht (the man) can take an awesome lead solo. 

​In general I find music from Europe way more political than Americans are comfortable with. I don’t see Assange as any kind of hero but I appreciate when artists take a stand, especially when it’s as entertaining as this track and video. Great work!

A group of lifelong friends in Boston got together and formed a high energy pop-funk outfit called The Far Out. Their debut four-song EP is also called The Far Out. The six band members are Ellie Dolan (vocals/trumpet), Henry Zagarella (vocals/keys), Olivia Lowe (vocals/guitar/flute), Colin Senechal (saxophone/guitar), Ryan Fremont-Smith (bass/vocals) and Drew Phillips (drums). Songs from the new EP have appeared on the River 92.5 radio station as well as many web-based streamers. Their music has been called “feel-good and infused with groove.” 

These songs were recorded both at home and at the Record Co. in Boston, with mixing and mastering by bassist and producer Ryan Fremont-Smith, with assistance on “Long Time Coming” from Matt Miceli. 

“Long Time Coming” is the opening track and has an accompanying video which I’m using as a cheat sheet. The conceit of the video is that the band is playing a high school senior prom. The band members are dressed to the nines and the “kids” look well into their late twenties. Musically the track starts with saxophone and keys, with a full, rich sound from the very first note. Ellie Dolan is an excellent lead vocalist with a clean, high tone and expressive flourishes (I’m assuming she overdubbed trumpet as well). Sax player Colin Senechal takes a rollicking solo while someone in the video spikes the punch. The recording and mixing quality is top-notch and totally radio friendly. Aside from musically, this group really does seem to enjoy being around each other and that feeling is infectious.

Moving back to the EP, “Good Thing” starts with an even heavier does of brass but with roughly the same tempo and feel as the lead single. One difference is that despite the presence of the full band, this tune is quieter and more  intimate, allowing Lowe to sing as if she’s confiding secrets to a friend. Dolan adds occasional vocal harmonies. In the best sense this track has the feel of a classic 45 RPM “B side,” meaning it could easily be its own hit single if a DJ played the wrong side! The arrangement features a classic build toward the middle sax solo and a triumphant conclusion.

“Another Thing” begins quite differently with Rhodes-like keyboards providing a simple backdrop for the sax to wander the scales at will. Lowe again claims centerstage with a vocal performance packed with soul. This is a confectionary-sweet torch song with tons of killer harmonies and an irresistible “Ooh ooh” chorus. By this point I’m starting to wonder if these guys are capable of writing any song that doesn’t sound like a top 40 smash! 

The final track “Life of the Party” is a total funk-fest with lead vocals this time by Henry Zagarella with the rest of the gang joining in. It’s a jumpy fusion-influenced track not too far from the great Stevie Wonder. This time there’s not as much sax and instead they feature a kind of calliope-sounding synth solo. Drummer Drew Phillips also finally gets his own quick solo section in which to shine. 

These guys totally delivered the goods and clearly have a long and bright future ahead!

GREYFACES emerges as a subtle yet compelling force in the music scene, quietly dropping tracks that defy easy categorization. The enigmatic allure of their sound, evident in the mesmerizing track "Depleting My Oxygen," captivates from the very start. The heavily affected vocals, coupled with a pulsating rhythm section and reverb-laden guitars, transport listeners to an otherworldly sonic realm that gradually enchants with each repeated listen.

In contrast, "Young, Dumb and Full Of Rum" adopts a more subdued, misty ballad-like demeanor. While the vocals shine, there's a desire for a touch less distortion, yet the instrumental elements interweave seamlessly, crafting an atmospheric landscape where boundaries between musical components blur and merge. 

A standout moment arrives with "I Can’t Stop," boasting an infectious groove that's undeniably compelling. The expertly crafted interplay between drums, bass and vocals in the mix invokes a sense of sonic perfection reminiscent of '90s alternative music, albeit with a more lavish and textured quality akin to The Jesus and Mary Chain. 

​Throughout this collection, GREYFACES unveils an original sonic tapestry, constructing songs that feel more like immersive soundscapes. The meticulous construction and evocative compositions hint at a promising trajectory, leaving listeners eagerly anticipating the artist's future releases.

Domenic Petrella - known as DP to the indie music world - is a solo musician from Montreal, Canada. His new album REFLECTION is his 11th release in 11 years!

Petrella explains that most of these new instrumental songs were inspired by his recent travels to Venice, “fairly simple with lots of different ideas blended in the songs.” Petrella mostly composes his songs on acoustic guitar and then plays all the parts on his recordings. He adds that these songs “remind me of walking the quiet streets of Venice.” All recording took place at Petrella’s basement studio using a Tascam Digital PortaStudio, with all instruments recorded direct-in (no microphones).

“Evening At La Fenice” starts us off with a mellow shuffle, with big single bass notes and a gently strummed Yamaha acoustic guitar with a pickup. The track is basically made up of two sections, with feedback and reverb-drenched electric guitar slowly added. By the middle section I’ve been improbably reminded of Brian Wilson’s Pet Sounds, thanks to that same laconic but fully orchestrated feel. For “Young Love” I immediately noted “LoFi” because of the slightly detuned guitars which have also been recorded right at the edge of distortion. Though definitely a rough sound, the simple chords and melodies are quite fetching. A track like this usually has me hit the “Buy Digital Album” button immediately. 

I believe “Reading A Painting” is an instrumental ode to visiting an Italian art gallery or antiquarian book shop. I swear this is the last time I’ll mention Pet Sounds, but again the easygoing feel and the cool tremolo Fender guitar demands it. There’s a slightly different part two, introduced by a blast of fuzz guitar that threatened to turn the track into metal, but wisely held back. That same sound returns to start “Morning” which again features guitars that would feel right at home in a 1960s beach movie (I had to double check to see if Petrella actually came from Southern California and not Montreal!). The middle section features some quick but very cool feedback interjections. “Reflection” has a bit of early Genesis-Steve Hackett acoustic majesty, backed by what sounds like a reversed electric guitar power chord track. Though not in any way dissonant, this is one of the more melodically challenging tracks while still being quite beautiful.

“Travel” is built on a simple two-note motif, followed by steadily strummed electric & acoustic guitars with a basic rock beat. If you’ve ever seen a Mod English romantic comedy from the ’60s, this is the kind of music they’d use for a montage or credits. “My Time” concludes the set with a dose of Beatles grungy White Album energy, though with a stately rock beat at about walking tempo. The simple lead line again channels those old surf band one-hit wonders. 

​I’m totally new to DP so I don’t know how reflective of his sound this album is. I also didn’t expect an album inspired by a trip to Italy to remind me of the Southern Cal beaches, but that’s what it did. Regardless this is clearly an artist with his own voice and definitely worth watching!

linktr.ee/DP_Music

In the tranquil realm of jazz, John and Linda Trinckes emerge as a seamless duo crafting original compositions that delve into the heart of this melodic genre. Linda, the lyrical architect, and John, the maestro behind composition and mastering, intertwine their talents to weave a unique auditory experience.

"You Make Me Smile" initiates the journey, an undeniably smooth piece exuding mellowness. Yet, within its tranquility lies an intriguing, almost haunting quality. The delivery of the lyrics amplifies an enigmatic allure, leaving a distinctive imprint upon the listener. Following suit, "Live Your Best Life" resonates, its xylophonic composition paradoxically juxtaposed against its resoundingly positive lyrics. The dissonance creates an unusual, albeit compelling, impact that resonates beyond the expected boundaries.

Transitioning further into their repertoire, "The Blue Hour" unfurls with impeccable percussion and a fluid bass line. A distinct ambiance reminiscent of lounging poolside in mid-‘70s Las Vegas permeates this track, evoking a vivid sense of nostalgia. There's an inherent cinematic quality woven into these melodies.

​A tantalizing suggestion arises—subjecting these compositions to an extensive hall reverb might render them fitting for a poignant movie sequence. It's an appreciation that traverses an unexpected path, one that may not align precisely with the creators' intent.

​Ultimately, the Trinckes emerge with a distinctive sonic identity. Their oeuvre beckons for exploration, inviting listeners to immerse themselves and uncover the nuances of their original sound. Dive in and discover the evocative world they've meticulously crafted.