Best Of

Favorites of 2025: The Cords – The Cords

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The Cords: how a band turns pop instincts into craft

If rock and roll really is dead, then The Cords clearly missed the memo, because their new self-titled record kicks the coffin lid open, steals the eulogy notes, and sets the funeral pyre dancing like it’s 1979 again and tomorrow doesn’t exist. This thing isn’t just a debut—it’s a declaration, a sugar-buzzed jolt of pop-bright indie rock that doesn’t pretend to be cool, doesn’t hide behind irony, and doesn’t give a damn about whatever trend some influencer is spoon-feeding their followers this week. It’s melody as oxygen, chorus as lifeline, guitars strummed like they’re trying to shake loose every last excuse you’ve ever had for not feeling something. And thank God for that—because in a year drowning in algorithmic uselessness, The Cord showed up with color, conviction, and the kind of hooks that tattoo themselves on your spine: refreshingly infectious, all-ages indie-pop and jangle pop collection with bright, melodic hooks and irresistible harmonies.

When a band chooses to release a self-titled record deep into a career or at a moment of reinvention, it’s rarely an accident. A self-title asks listeners to pay attention: this is who we are, for better or worse. On The Cords, that gesture reads less like self-importance and more like quiet confidence. The album crystallizes a group whose greatest gift is the paradox of seeming easy: songs that land as immediate, catchy pop but reveal, on repeat listens, careful craftsmanship — arrangements that balance lift and restraint, choruses that stick without shouting, and lyrics that prize specificity over cliché.

This review explores why The Cords has quickly emerged as one of 2025’s most beloved releases (or at least for us at Your Tuesday Afternoon Alternative), examining how the record was made, what each musician brings to its radiant clarity, and how the band’s sound fits squarely—and confidently—within contemporary indie-pop and power-pop currents. Reviewers have praised the album’s effervescent hooks, bright harmonies, and early-Beatles-meets-C86 charm, calling it a reminder that joy, immediacy, and craft can still feel revelatory. By looking closely at the songs and the meticulous yet exuberant musicianship behind them, this piece makes the case echoed by critics across the board: The Cords proves that in an era of over-processed noise, genuine craftsmanship not only still matters—it stands out.

Who are The Cords?

Asking “Who are The Cords?” is entirely reasonable, especially given how quickly the duo seemed to burst onto the 2025 music landscape with a fully formed sound and a debut record that feels more like the work of seasoned veterans than newcomers. Their name appeared almost overnight in reviews, playlists, and year-end lists, prompting curious listeners to wonder how a band this polished could arrive with so little advance fanfare. The question reflects both genuine intrigue and the natural impulse to understand the people behind a record that has connected so widely, so suddenly. Ok, ok… let’s answer the question directly: The Cords are a rising Scottish indie-pop sister duo, Eva (guitar, vocals) and Grace (drums and percussion) Tedeschi, known for their catchy, jangle-pop sound reminiscent of ’80s/90s C86 indie, featuring loud guitars, drums, and infectious melodies. They gained buzz in the UK indie scene, playing with major bands like Belle and Sebastian, and released their self-titled debut album this year, solidifying their place as exciting new musicians with a fresh take on classic indie pop.

So, sure, The Cords are a rising indie rock band whose self-titled debut has pushed them from regional curiosity to one of the year’s most talked-about new acts. That love comes honestly. It is built around a shared love of sharp pop melodies, jangling guitars, and choruses designed to ignite rooms both small and large. The band blends classic power-pop instincts with the earnest shimmer of modern indie. While each member brings a distinct musical background to the project—ranging from DIY home-recording scenes to more polished studio work—they come together with a unity of purpose: to make songs that feel immediate, heartfelt, and boldly melodic. Their chemistry is unmistakable, the kind of collaborative spark that makes a first record sound less like a beginning and more like a band arriving fully formed.

A band in the room, not a solo project on a laptop

One of the first things you notice about The Cords is its sense of feel. The record breathes the way a live band breathes: near-mic’d guitars trade phrases, the bass doesn’t merely hold down the root but sings counterlines, and the drums are both precise and human — they click when they should and push when the song needs momentum. That sonic chemistry suggests an actual group in a room rather than a single songwriter piling tracks onto a click-track.

On this record, the players are careful taste-makers: a lead vocalist who carries the melody with an effortless honesty; a guitar riff is economical but unforgettable; bass lines that anchor and color in equal measure; a drummer who doubles as a dynamic architect; and occasional keys and backing vocals that thicken textures without smothering them. The album’s production is shaped in large part by Jonny Scott and Simon Liddell, who not only handled the recording and overall sonic direction but also contributed additional bass and keyboard parts. Their involvement adds depth, texture, and subtle melodic detail, helping the songs land with a clarity and fullness that elevate the duo’s core ideas. That production leans toward warm melody rather than slick overprocessing — vocals swirl, the guitars ring, and harmonies bloom in native stereo. The effect is immediate and intimate, like a favorite radio station that somehow still surprises you with classic Scottish indie pop, bringing energy and authenticity to the genre.

Classic hooks, modern precision

Musically, The Cords live at the intersection of indie-pop and modern indie rock. If power-pop is the art of building irresistible choruses around smart songcraft, this record nods to that lineage while keeping its feet in the present. The guitars often prefer jangle and concise counter-motifs over endless studio tinkering with reverb; the drum sounds favor snap and presence within the mix; the bass is melodic. Production choices keep the songs forward and communicative.

What’s clever about the album is how it uses contrast. A sleek, hummable chorus might follow a verse that’s rhythmically skittish or harmonically unusual; a bright hook will sit atop an unexpectedly rueful lyric. That push-and-pull keeps songs from flattening into mere earworms. The band knows how to write a chorus that hooks on first listen, but they’re more interested in building shoulders for those hooks to stand on so the singer can mean what she has to say within the sway of the song.

Ordinary detail, emotional honesty

Lyric writing on The Cords resists broad platitudes. Instead of grand pronouncements, these songs live in particulars: a lit street outside an apartment window, the wrong song playing on a cheap jukebox, saying goodbye, not knowing what to say. Those details anchor the songs emotionally; they make choruses feel earned rather than handed to the listener.

Themes recur — the ache of imperfect relationships, the friction between wanting to leave and wanting to belong, the peculiar loneliness of modern urban life — but the band treats these themes as lived experience, not albums’ worth of slogans. There’s tenderness here, an ability to hold both humor and regret in the same line. When the chorus opens up into sing-along clarity, the words are often small but direct, the kind that a listener can latch onto and repeat in daily life.

Rather than a list of titles, the album’s architecture is worth noting: it opens with a confident, urgent cut, “Fabulist” that announces the band’s melodic ambitions; it centers itself with a pair of mid-album songs that reveal its lyrical depth while stilling rocking (“You” and “I’m Not Sad”); and it closes with a return to the jangle with a reflective piece that leaves more questions than answers, “When You Said Goodbye” — a satisfying structure that mirrors human experience rather than manufactured catharsis.

The opener works as a thesis statement: brisk tempo, jangly guitars, a pre-chorus that sets up the payoff, and a chorus that lands like a bright bruise — it’s immediate and impossible to ignore. The arrangement focuses on guitar and drums, yet leaves space for letting the lyric breathe before swelling into a harmony-rich chorus. That dynamic — economy vs. abundance — is where the record’s emotional intelligence shows. The listener feels tugged along rather than pushed.

Musicianship: pop instincts, instrumental care

One of the pleasures of The Cords is hearing instrumentalists who understand restraint within the landscape of Scottish indie pop. The lead guitar rarely indulges in long solos; instead, short melodic figures become hooks in themselves. The bass often carries melodic interest in places a secondary vocal might have; the drums use space and silence as effectively as fills and cymbal swells. These are not instrumental showpieces; they are choices made to serve the song.

Backing vocals are used sparingly but to great effect: stacked parts in choruses heighten the sense of communal voice, whereas single harmony lines in bridges add emotional nuance. Keys and synths make tasteful cameos — a pad here, a tuned key there — supporting rather than competing. The overall musicianship communicates a band comfortable with pop’s mechanics yet allergic to disposable glitz.

Production plays a crucial role in a record like this. The engineers and producers behind The Cords opt for a live-room warmth; you can hear the string of the guitar and the breath before the vocal. The mix privileges midrange clarity so the melodies cut through without overwhelming the low end. Transients on percussion are preserved to give the drums snap, and the stereo image is used to place instruments in space rather than to dazzle with effects. That sonic philosophy — preserve the room, let the song guide the mix — keeps the album feeling human. It’s pop music with a pulse rather than sterilized pop.

For whom this record is made

The Cords will appeal to listeners who prize tunes that reward attention. Fans of classic power-pop and jangly indie rock will find the hooks irresistible, but casual listeners will also appreciate the plainspoken choruses and immediate melodies. The record sits comfortably between the worlds of radio friendliness and indie credibility: radio programmers get singable choruses; critics get craft and nuance.

Younger listeners who grew up with playlist culture may be surprised by how an album built around consistent melodic logic can still create small shocks of recognition — the kind of “I know this” feeling that a succinct chorus can produce. Older listeners will appreciate the band’s affinity for tradition without nostalgia.

This record matters

In a popular music moment dominated by hyper-production, viral singles, and an ever-shortening attention span, a record like The Cords is quietly radical. It insists on songcraft: beginning, middle, and end; it assumes the listener will return; it foregrounds human voices and real instruments. The album’s lack of pretense is, paradoxically, its statement. It shows how pop can be both pleasurable and thoughtful, how choruses can be cathartic without being manipulative.

For a listener who wants immediacy without cheapness — a hook that doesn’t insult intelligence — The Cords offers reassurance: good songs still matter, and a band playing together still sounds like something worth cherishing.

A self-titled album is a claim. The Cords lay claim to that title gently but firmly: here is a band confident in its pop instincts and literate in its emotional choices. The record’s charm rests on the marriage of classic pop construction with modern precision, the musicians’ disciplined instincts, and songwriting that values detail over slogan. It isn’t a manifesto; it’s a practice. And in an era of flash, there’s a particular pleasure in watching a band quietly do the work of making songs that last.

Favorites of 2025: The Tisburys – A Still Life Revisited

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If rock & roll really is supposed to be dead, then The Tisburys clearly didn’t get the memo, becauseA Still Life Revisited sounds like the kind of record made by people who still believe guitars can change your pulse rate and a chorus can rescue you from the beige grind of everyday life. It’s big-hearted, jangly, melodically drunk on its own hookiness, and just earnest enough to make cynics roll their eyes—right before quietly admitting that, okay fine, this rules. In an era where “indie rock” has become an algorithmic suggestion instead of a real-time human exhale, The Tisburys are writing songs that swing for transcendence without pretending they’re saints. They’re too busy making music that actually moves. And that might be the most subversive thing any band can do in 2025.

And live well, let’s just say that this band will change your life. They certainly did that for me in May when they played in Columbus, Ohio.

There’s a delicate alchemy in making music that sounds both freshly urgent and comfortably familiar. With A Still Life Revisited, The Tisburys — a Philadelphia band led by singer-songwriter Tyler Asay — manage that trick across ten tracks that feel immediate, carefully arranged, and, surprisingly, wise. The album moves with the confidence of a band that’s learned how to translate small domestic crises (turning thirty, marriages, memory, the peculiar ache of hometowns) into classic, hook-driven indie rock: chiming guitars, harmonized choruses, and narratives that reward close listening. In other words, this is modern power-pop with a conscience, and it may be the Tisburys’ sharpest collection yet.

What makes A Still Life Revisited sound like more than a solo songwriter backed by colleagues is the apparent solidity of the lineup and the way each instrumental voice gets its moment. The Tisburys cohere around Tyler Asay’s warm, slightly plaintive voice and his knack for melody, but the record belongs to a group: guitarist John Domenico’s tasteful leads, Jason McGovern’s keyboards and co-production instincts, Ben Cardine’s steady bass and Dan Nazario’s drums. The band’s website and press materials emphasize that this is “a band record,” one where arrangements were built by people who have been playing together for years and know how to leave space for each other. That chemistry is audible: the guitars converse, the rhythm section moves like a unit, and the keys add texture rather than crowding the mix.

Sound and lineage: power pop, indie rock, and a Philly-Jersey DNA

If you trace the DNA of A Still Life Revisited, you’ll find a lineage that ranges from jangly 90s college rock to the more melodically ornate sides of the early 2000s indie wave. The Tisburys wear those influences proudly — there are echoes of The Replacements’ emotional bluntness and Beatles-style melodic craft, but also the stadium-ready shimmer of bands who balanced grit with sheen. Yet the album never sounds like a pastiche. It’s unmistakably contemporary: production is bright without being slick, vocal harmonies land with the immediacy of a live show, and arrangements are built to make choruses stick. The band explicitly cites its Philly and Jersey Shore influences, and that regional grounding shows up in the record’s blend of small-town narrative detail and seaside, sing-along energy.

What makes The Tisburys special — and what lifts A Still Life Revisited above many power-pop records — is their attention to lyrical detail. Tyler Asay writes about ordinary moments in a way that strips them of cliché. Songs on the record address the “first half” of life — relationships, nostalgia, homecomings — without falling into mawkishness. Lines about family photographs, local landmarks, and the strange combination of comfort and claustrophobia that comes with returning to familiar places make these songs feel lived in. The best of the album pairs those specifics with anthemic choruses: you can sing along, but you can also listen closely and discover a story unfolding. Critics have singled out the band’s knack for marrying hooky arrangements with narrative songwriting as a central strength. And, you know, they are absolutely right.

Ordinary lives, big choruses

A Still Life Revisited isn’t a concept album in the strict sense, but the sequencing creates a coherent emotional arc — from longing to reflection to a kind of defiant hope. Several tracks stand out for the way they crystallize the band’s gifts.

“Forever” opens the record with a declaration:

“April days are forever
Nineteen days not together
Show my flaws through a camera lens
No more lies waiting to forget”

Armed with a chorus designed to lodge in the skull. It’s a song built slowly: clearly, Asay rewrote and revised the arrangement until the parts clicked, and that patience shows. The song’s telescoping structure — verse to pre-chorus to a cathartic refrain — demonstrates the band’s skill at sculpting dynamics so that the chorus lands like a communal exhale. It feels right.

Elsewhere, the album dips into more reflective territory. Tracks rich in harmonies and piano offer moments of tenderness: memories, small defeats, and reconciliations appear in detail rather than in sweeping generalities. The sonics are dynamic, bloom with backing vocals and subtle keyboards — a technique the band uses repeatedly to give emotional weight to otherwise modest lines.

Other songs lean into the band’s power-pop muscles. Hooks here are not mere commercial concessions but emotional amplifiers; when the group sings together, the effect is immediate and communal. The closing track “Here Comes the Lonesome Dove” — described in reviews as an “urgent, upbeat” send-off — mixes strong harmonies, urgent rhythm, and slightly darker lyrical shades to finish the album on a note that feels both celebratory and bittersweet. It’s a perfect closer, an effective summation of the album’s themes: growth, memory, and the ambiguity of home.

Production and studio choices: warm, direct, human

Recorded at Mt. Slippery (Dr. Dog’s suburban studio) with longtime engineer/producer Justin Nazario, the album’s sonic identity favors clarity and warmth over gimmickry. That environment — a comfortable, band-friendly studio with analog sensibilities — helps the band capture immediacy without losing fidelity. The drums snap, guitars shimmer, and the vocal center is forward without being overly compressed; harmonies sit naturally in the room rather than stuck on top of a slick production. Listeners who prize the feeling of a live band in a room will find much to like here.

If you know The Tisburys’ older releases, the evolution on A Still Life Revisited is noticeable but not jarring. Earlier records leaned more heavily on 90s radio rock and could feel rawer in places; here, the songwriting feels tighter and more collaborative. Reviews suggest this is the band’s “most collaborative effort to date,” with multiple members contributing production and arrangement ideas — a shift from a single songwriter model to a more democratic studio approach. The result is songs that are fuller in texture but no less intimate; the details of domestic life are still central, but the band now frames them with broader, more anthemic musical gestures.

Importantly, the Tisburys haven’t abandoned their core voice. Where some bands try to “grow up” by abandoning what made them distinctive, The Tisburys have expanded their palette while preserving their melodic instincts and narrative focus. That balance — between continuity and growth — is what makes this album feel like a genuine step forward instead of a rebrand.

Who will love this album?

A Still Life Revisited will appeal to a broad swath of listeners: fans of modern power pop, devotees of literate indie rock, and anyone who finds comfort in songs that sound like they were written by people who noticed life’s small edges and decided to sing them out loud. In 2025, when many records either chase novelty or hide behind irony, there’s a particular pleasure in music that foregrounds craft and communal warmth. The Tisburys offer both: the skill of well-constructed pop songs and the feeling of a band that wants to connect, not merely perform.

Sure, everyone says that no record is perfect, and A Still Life Revisited has modest limits. For listeners looking for radical sonic innovation that avoids melody or confrontational protest-based lyrical stances, this is not the album for you. The album’s strengths: finely tuned melodies, thoughtful narratives, and a band that clearly knows how to shape a song’s emotional arc make this record a stellar release for 2025.

A band refining its craft

Ultimately, A Still Life Revisited reads like the work of a group that has learned how to harness its influences — The Beatles’ melodic sense, 90s power-pop energy, and early-aughts indie bombast — and direct them toward songs that feel honest and communal. The album isn’t trying to shock or to invent an entirely new style; it’s trying to do something arguably harder: write memorable songs that respect the listener’s intelligence and reward repeated listening.

For a modern band based in a city with a cultural identity as rich and complicated as Philadelphia’s, making an album this warm, melodic, and grounded is no small feat. A Still Life Revisited is The Tisburys at their most assured: a record of small truths and big choruses, sung by a band that understands the difference between a catchy line and a song that stays with you. If you like your indie rock crafted, communal, and emotionally direct, this is an album worth putting on repeat.

Favorites of 2025: Kim Ware and The Good Graces – Grand Epiphanies

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I’ll just say it: Grand Epiphanies is one of the most human records you’re going to hear in 2025, and maybe one of the few that doesn’t insult your intelligence along the way. While many releases this year seem hell-bent on either drowning themselves in studio varnish or hiding behind hipster irony, Kim Ware walks in like someone who’s survived a few things and isn’t afraid to speak plainly about the bruises. These songs don’t howl, they don’t posture—they breathe. And in an era when pop throws confetti over every emotional breakdown and calls it catharsis, Ware has the guts to sit with the silence, to let the ache settle, to make music that’s actually about feeling something and not just Instagramming the wreckage. This is a record that believes in sincerity, and for that alone, it hits like a revelation.

Deepening the craft: Why Grand Epiphanies matters

When Grand Epiphanies was released in September 2025 via Fort Lowell Records, it arrived not as a gimmick or a throwback — but as an earnest statement from a songwriter who has spent nearly two decades refining her voice. For fans of Kim Ware and The Good Graces, the EP represents both continuity and evolution. It retains the emotional honesty and Southern-tinged indie-folk roots listeners have come to expect, while embracing fuller arrangements, sharper lyrical clarity, and a maturity of perspective that only time (and living) can provide.

What emerges is a collection of songs that treat heartbreak, regret, longing, and self-doubt not as melodrama, but as shared human truths. Ware doesn’t write to shock, to boast, or to gloss over. She writes to reach — to offer a mirror to listeners, and maybe a little company in whatever dark or quiet moment they find themselves. This EP is a reminder: vulnerability doesn’t have to be pretty. It just has to be honest.

The team: musicians behind the music

Although Kim Ware remains the creative heart of The Good Graces — vocals, guitar, and songwriting — Grand Epiphanies is a collaborative effort, supported by skilled players and producers who understand how to highlight nuance rather than mask it.

On this release, producers and multi-instrumentalists Steven Fiore and Justin Faircloth play central roles, adding guitar, piano, keyboards, bass, and even backing vocals, and in doing so, help shape the record’s rich but still intimate sonic layers. Their presence builds on a long tradition within The Good Graces: throughout previous albums, different collaborators have drifted in and out of the lineup, each contributing something distinct to the band’s evolving sound. That kind of fluid membership has always been part of the project’s identity, keeping Kim Ware’s songwriting deeply personal while allowing the music itself to remain open, flexible, and continually renewed rather than fixed in a single form.

This flexible model echoes what Ware once said about the band: not as a fixed entity but as a “very talented group of friends,” coming together when inspiration, time, and circumstance allow.

In practice, this means Grand Epiphanies doesn’t feel overproduced or manufactured. Instead, it feels like friends gathered in a room, listening, playing, and creating together — a mood that invites trust and intimacy rather than distance and gloss.

Sound and style: picking up old threads, weaving new ones

Listeners familiar with earlier Good Graces albums — from Sunset Over Saxapahaw (2008) through Ready (2022) — will find much that’s familiar on Grand Epiphanies. Ware’s Southern-tinged twang, her blend of folk, country, and indie-rock sensibilities, the unhurried melodies, the earnest vocal delivery — these remain essential.

Yet this EP also feels more expansive than some earlier efforts. The production, led by Fiore and Faircloth, layers guitars, piano, subtle harmonies, and occasionally banjo or other acoustic touches to build a richer emotional landscape around Ware’s voice. Although personal taste will always shape which tracks linger the longest, several songs on Grand Epiphanies stand out for the way they crystallize what the record does best. Take the track “Old/New”: its guitar strumming and vocal lines evoke late-afternoon melancholy, but as the song unfolds, piano and backing instrumentation widen the space — giving the listener room to sink into memory, longing, and possibility. unfolds like a gentle meditation on what we leave behind and what we carry forward, its subtle layers of instrumentation creating room for genuine emotional reflection.

“Wish I Would’ve Missed You” approaches heartbreak without melodrama, turning regret and longing into something more like the experience of leafing through old photographs—quiet, tender, and unexpectedly overwhelming. And then there is “Missed the Mark,” a song that speaks directly to the insecure, the hopeful, and the uncertain, offering both an appeal for human connection and a confession of imperfection that feels disarmingly honest.

The choice to include a cover — a reimagined version of Some Guys Have All the Luck — also signals the confidence in balancing reverence and reinvention. On this EP, the cover doesn’t feel like a novelty; instead, it sits comfortably alongside Ware’s originals, transformed gently to align with the EP’s mood and tone. “Some Guys Have All the Luck” serves as a bridge between past and present, inspiration and reinterpretation. It doesn’t overshadow the original; it complements it, reminding listeners that songs evolve just as people do.

Overall, the sound of Grand Epiphanies suggests maturity without restraint, emotional depth without melodrama — the kind of record that lingers long after the final note fades.

The gift in the songs: everyday life, honest reflection, and human connection

What often sets the best singer-songwriters apart is a gift for translating ordinary moments into emotional touchstones. On Grand Epiphanies, Kim Ware exercises that gift with clarity and courage. Rather than lean on clichés — heartbreak melodrama, romantic tropes — she mines the subtler, messier terrain of real experiences: regret, nostalgia, second chances, self-doubt, hope, and quiet resilience. Many of these themes resonate universally: longing and loneliness, memory and loss, the ache of roads not taken, the fragile optimism that hums beneath everyday life.

In “Wish I Would’ve Missed You”, Ware reflects on regret and longing with a spare lyricism that strikes more powerfully than most breakup ballads. “Spent it all on grad school… every now and then a memory stops me in my tracks,” she sings — not flaunting heartbreak but confessing to being human, vulnerable, flawed.

Elsewhere — in songs like “Missed the Mark” — she turns the lens inward, wrestling with feelings of inadequacy, uncertainty, and the desperate hope to connect. “I scan the room and hope the messages I send / Somehow reach a brand new stranger, and they become a brand new friend,” she confesses, exposing the artist’s fear and longing behind performing.

The album doesn’t promise closure. It doesn’t pretend that “everything works out.” Instead, it offers companionship: a voice that says, “I feel a lot of this too.” In that way, Grand Epiphanies avoids insulting the listener’s intelligence by offering simplistic solutions. It acknowledges complexity. It honors pain. And it believes in healing — not as a fairy tale but as a slow, sometimes messy process.

How Grand Epiphanies compares to previous work

To appreciate Grand Epiphanies, it helps to see it against the backdrop of Kim Ware’s musical journey. The Good Graces began in 2006 after Ware picked up an old acoustic guitar and started composing songs rooted in Southern indie-folk traditions.

Earlier records, like Close to the Sun (2014), showed a willingness to experiment — to mix folk and country, to play with ambient touches, drum machines, and subtle electronic textures. But even then, the core remained familiar: Ware’s voice, simple guitar patterns, emotionally candid lyrics.

With Ready (2022), the songwriting felt sharper, more intentional; melodies caught between wistful longing and restless urgency. Yet Grand Epiphanies pushes further. The songs are more cohesive; the instrumentation more deliberate; the emotional stakes clearer. Listeners can trace how time, experience, and loss have deepened Ware’s perspective.

This latest EP also suggests a renewed trust in collaboration. Rather than relying solely on acoustic minimalism — the refuge of vulnerability — Ware embraces fuller arrangements. The result isn’t flashy, but it feels abundant in feeling. It’s as though she’s saying: “These aren’t just my stories alone anymore; they are ours.”

Why Grand Epiphanies feels especially relevant in 2025

We live in a time when noise is constant — in our politics, our social media, our media cycles. Simplicity and quiet reflection often feel like luxuries. In that environment, an EP like Grand Epiphanies doesn’t just matter musically; it matters morally. It represents a kind of resistance — not flashy or confrontational, but human.

Kim Ware doesn’t demand answers; she offers empathy. She doesn’t pretend life gets clean after the hard parts; she reminds us that even when scars remain, beauty can survive. For listeners who feel worn down, uncertain, or haunted by memory, these songs can be small lamps in a dark room. For those simply seeking honest songwriting in a sea of glossy distractions, the EP offers relief.

Moreover, the collaborative, evolving model of The Good Graces — weaving friends, producers, rotating musicians into a living tapestry — speaks to music as community, not commodity. In an age of streaming algorithms and viral hits, that matters.

A few honest limitations — and why they don’t hurt the EP’s purpose

As with any release built around vulnerability and introspection, Grand Epiphanies may not cater to all tastes. Listeners expecting polished pop hooks, glossy production, and immediate gratification might find its pacing too slow, its mood too muted. The EP’s strength lies precisely in its restraint — in accepting that some feelings don’t come wrapped up neat and loud.

And with only five tracks, Grand Epiphanies can feel more like a snapshot than a full portrait. Themes are introduced, emotional arcs hinted at, but not always resolved. The sense is less of closure and more of continuation. Which, in many ways, may be the point: life rarely offers tidy endings.

Still — if you’re open to being held in uncertainty for a little while; if you’re willing to sit with a guitar, a voice, and a few gentle chords — the EP offers something rare: a place to breathe.

Kim Ware and The Good Graces — still speaking, still feeling

In a musical climate often dominated by spectacle, loudness, and overstated sentiment, Grand Epiphanies stands out not because it demands attention, but because it deserves it. Kim Ware’s songwriting remains a gift: honest, gentle, unguarded, but never cloying or insincere. Backed by The Good Graces, she continues to prove that folk and indie rock can still speak to our messy, uncertain lives with clarity and heart.

For longtime listeners, the EP will feel like a meaningful evolution — a band maturing, growing more confident, more open to collaboration. For those just discovering Ware, it offers a doorway into a catalogue full of stories that don’t hide behind cliches or affectation. And for anyone longing for music that reflects rather than distracts, that comforts rather than commodifies — Grand Epiphanies is a small, glowing jewel.

In 2025, when the world often seems determined to overwhelm us with noise, Kim Ware and The Good Graces invite us to slow down, listen, and remember: we are not alone. We are human. We are trying. And maybe — just maybe — that’s enough.

Favorites of 2025: Bruce Springsteen – Nebraska 82 Expanded Edition

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Look, Nebraska was already perfect in that cold-coffee, blackout-3-a.m. way that records sometimes accidentally are—Springsteen mumbling ghosts into a four-track like he’s afraid the neighbors might hear him unraveling. You don’t “improve” a hallucination. But here comes Nebraska ’82 with its alternate visions, its rust-belt apparitions, and suddenly you realize perfection isn’t the point anyway. What we’re getting now is the messy archaeology of a masterpiece—the dirt under its fingernails, the tape hiss, the roads not taken. It doesn’t dethrone the original bedroom-confessional monolith; it stands off to the side like a cracked mirror held up to the same bleak American sky. And damn if that mirror doesn’t show something worth staring into all over again.

Nebraska ’82: Expanded Edition arrives at the right time

With the 2025 release of Nebraska ’82: Expanded Edition, Springsteen and his team have delivered the most comprehensive, honest, and vivid portrait of one of the most haunted, intimate, and influential albums in rock history. The box set includes a newly remastered version of Nebraska as originally released, previously unheard demo outtakes, the long-rumored “Electric Nebraska” sessions with the full band, and a newly recorded live performance filmed in 2025.

For newcomers and longtime fans alike, this release offers both context and extension: context for how Nebraska came to be — from home demos on a TASCAM to a full LP — and extension in the form of alternate takes, jukebox-ready electric arrangements, and reflections of the songs through decades of memory.

It’s not just nostalgia or archival shelf-cleaning. What emerges is an album whose darkness, subtlety, and emotional power remain urgent. Nebraska ’82 still speaks — perhaps even more clearly now — to lives marked by uncertainty, longing, and resilience.

The original Nebraska — stark, personal, unforgettable

When Springsteen recorded Nebraska in late 1981 and early 1982, he did so not with a studio full of musicians but with a four-track recorder in his bedroom, an acoustic guitar, and a stark vision. The result was an album unlike anything else in his catalogue: bleak, intimate, confessional, but not confessional in a self-pitying sense. These were songs born from solitude, from the rawness of fear, regret, despair — made real by economy of arrangement.

Tracks like “Atlantic City,” “Johnny 99,” “State Trooper,” and “My Father’s House” traversed the margins of the American dream: economic hardship, moral desperation, violence, yearning for redemption. The spare instrumentation — sometimes only a guitar and a voice — made every lyric, every tremor of the vocal, every pause between notes count. The result is widely considered one of the great solo records in rock.

Decades later, Nebraska remains the gold standard for how quiet, low-fi recordings can deliver emotional immediacy. For many, it’s not just an album — it’s a private confessional, seen through the lens of loneliness and lost dreams.

What the Expanded Edition adds — and why it matters

Remastering with care

First, the 2025 remaster brings Nebraska into sharper focus without erasing its haunted intimacy. In a landscape where remasters often polish away character, this one preserves the album’s texture — the creaks, the echoes, the warmth of an acoustic guitar reverberating in a home studio — while improving clarity and depth. Critics who’ve heard the new edition note that the remastering reveals subtle layers previously buried: the quiet background of a mandolin here, the soft echo in the final chords there, the breath before a harsh lyric.

In short: the remastered Nebraska doesn’t feel like a revived relic — it feels alive again.

Solo outtakes and previously unreleased songs

The set’s first discs unearth acoustic outtakes and songs from the original 1982 sessions that didn’t make the album: Child Bride, The Losin’ Kind, Gun in Every Home, and On the Prowl — material fans have traded as bootlegs for decades or assumed lost forever.

Hearing them in official, high-quality form is revelatory. Tracks like “Gun in Every Home” offer a nightmarish portrait of domestic collapse and despair; “On the Prowl” pulses with a restless, searching energy that resonates with the rest of the album’s themes. Even though these songs were originally omitted, they expand the emotional terrain of Nebraska — reminding listeners that the darkness had multiple facets and that the record’s focus was always selective, not total.

Electric Nebraska — the “what might have been”

Perhaps the most dramatic and controversial addition is the long-rumored “Electric Nebraska” sessions. In April 1982, shortly after finishing the solo demos, Springsteen brought several members of the E Street Band into the studio (including Max Weinberg and Garry Tallent) and attempted full-band recordings of several Nebraska songs. In 2025, those sessions have finally emerged publicly — the first time many had heard them.

The results provoke awe — and ambivalence. On one hand, songs like electric versions of Atlantic City or Johnny 99 have a muscular, rock-ready energy. A demo of Born in the U.S.A. — originally written in the same era — appears in trio form (Springsteen, Weinberg, Tallent), described as “punk rockabilly.”  It is electrifying, raw, and historically fascinating.

On the other hand — and critics largely agree — turning Nebraska into a full-band rock record would have gutted much of its power. The original’s bleak intimacy, its ghost-town loneliness, its moral urgency — all flowed from isolation and austerity. As Uncut’s review put it: “Electric Nebraska might have produced a competent rock album, but it wouldn’t have been Nebraska.”

The electric versions often feel like exercises — intriguing, occasionally thrilling, but never quite as honest. The contrast only strengthens the myth of the original: a man alone with a guitar, bearing witness to the American underbelly.

A 2025 live performance: memory as lens

Rounding out the set is a newly filmed live performance — Springsteen playing the full Nebraska album in order, at the Count Basie Theatre, Red Bank, New Jersey. Accompanied subtly by veteran musicians such as Larry Campbell and Charlie Giordano, the performance is respectful rather than grandiose, earnest rather than nostalgic. In a press statement, Springsteen remarked on the experience: hearing the songs again, he was struck by their “weight” — their capacity to move, even after decades.

The filmed concert is not a re-creation but a meditation. Compared with the original 1982 recordings, the live versions reflect the distance of time — a deeper voice, more lived-in phrasing — but they carry the songs’ sorrow, hope, and grit into a present that, for many listeners, remains uncertain.

What Nebraska ’82: Expanded Edition reveals about Nebraska’s enduring power

Listening to the full box set is, in a way, a masterclass in artistic decision — what to keep, what to discard, what to preserve, what to experiment with.

The original Nebraska stands undiminished. If anything, the contrast with the electric takes and outtakes sharpens what made it special. The sparseness, the solitude, the haunted tonal space — all reveal that Springsteen’s choice to release demos instead of studio recordings was not a compromise but a commitment to emotional truth. As one critic writes, the set underscores that “even when testing out the material with his most intuitive collaborators … the definitive version of Nebraska remains the one he captured on tape… tracking solo demos.”

Yet the collection is not purely about preservation — it expands the artist’s vision. The outtakes and electric versions show songs as living things: malleable, re-interpretive, incomplete. They reflect a period of creative restlessness, of questioning whether Americana songs needed to be acoustic, dark, personal, or if they could rock, rage, and roar.

For fans and historians, Nebraska ’82 offers context. For new listeners, it might serve as the entry point. For all, it’s a reminder that rock — stripped-down or electric — can still carry the weight of real human stories.

A few tensions and enduring questions

The Expanded Edition is not without controversy. Some reviewers warn against over-romanticizing the demos and dismissing the electric takes outright. As one Guardian column argues, if listeners imagine full-scale E Street–style treatments, they’ll likely be disappointed: the electric tracks “take the edge off, neutralising their impact.”

Others worry that the outtakes and alternate versions — while fascinating — might dilute the mythic purity of Nebraska. After all, part of the record’s power lies in its restraint. The expanded set invites comparisons, second-guessing, and reconsideration that can feel like peeling away a protective layer.

But perhaps that is precisely the point: art is not a mausoleum. Revisiting is not desecration — it is re-examination. And Nebraska ’82 gives listeners the tools to understand not just what the album was, but what it might have been, and what it still can be.

Why this edition matters — now so many years later

2025 is not 1982. The world Springsteen sang about — poverty, despair, moral compromise, broken dreams — has changed in many ways, yet in others remains startlingly similar. Economic instability, social dislocation, disillusionment with institutions — many of the conditions that haunted Nebraska then still haunt us now.

In that sense, Nebraska ’82: Expanded Edition arrives not as nostalgia, but as relevance. The spare melodies, the tales of desperation and longing, the fractures in the American dream — they resonate with renewed urgency. And by revisiting them alongside alternate takes and newer interpretations, listeners are invited to reflect not just on the past, but on how songs age, shift, and heal.

For younger listeners who might only know Springsteen from his arena-rock anthems or later work, this box set offers a different face of “the Boss” — quieter, darker, more human.

For longtime fans, it’s a gift: a chance to listen again, to compare, to reconsider.

A masterpiece re-examined — and still alive

Nebraska ’82: Expanded Edition does more than archive a landmark record. It reopens its doors, pulls back the curtain, and lets us hear not just the final songs, but the echoes, the experiments, the what-ifs, and the near-misses.

In doing so, it reaffirms what made Nebraska a classic: the courage to strip away everything but voice and guitar, to trust silence, to speak plainly about fear, regret, and survival. But it also acknowledges that songs are not static. They breathe, shift, and can be reborn.

Whether you come for the electric sessions, the unheard demos, the 2025 live film — or simply to hear Nebraska again — the result is the same: you feel the weight of its stories, the depth of its sorrow, the faint but persistent light of hope.

Forty-three years after it was first recorded in a bedroom in Colts Neck, Nebraska still matters. Nebraska ’82: Expanded Edition proves that not just as history, but as living, breathing music.

Rocking The Year Away: Simon Powell

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Notes from a small island.

Finally, Autumn’s here (or ‘Fall’ as I believe my colonial chums prefer it!) and we’re back into the proper ‘grown up’ seasons.  No more adverts with teeth-whitened, permatanned ‘eejits’ enquiring whether you’re body’s ‘beach ready’ in the accusative tone that suggests they’re talking about the latest pod of whales that’s lost its way and floundered!  At last, we’re into the introspective comfort zone – the time of chilly dusks, open fires, unfashionable knitwear, and the thought of the rapidly approaching festive season.

Growing up in the UK in the early 90s, that glorious slide into Christmas and the New Year inevitably meant starting to ponder what John Peel would be including in his end-of-year ’Festive 50’ of favorite musical offerings from the preceding 12 months. After what seems to have been a particularly bountiful year so far, I was starting to mull over just that question; “What have been my songs/records of the year so far?”  And, as happenstance would have it, this same quandary was also exercising the inestimable Dr J.

Thus, following a brief bit of Twitter banter, I found myself landed with some homework!  I mean, I know in the ‘social media’ age everything’s more interactive, but I certainly didn’t foresee being set an assignment from my favorite DJ!  So, buckle up, strap in, or just assume the brace position as we careen towards what I’m going to pompously call my ‘Festive Fiasco’!  And if this doesn’t get me Magna Cum Laude in Rock ‘N Roll then harsh words will be had.

Anyway, enough of the waffle and down to business!  Whilst it would be easy to dash off a massive list of all the songs that have really made a mark for me this year, I thought I’d try and just pick the five that have resonated the most.  So, in no particular order, here goes…

1a. – Son Volt – Route (from the ‘Trace’ LP).  Yes, I’m well aware this first surfaced in the mid-90s.  But this is my post, so I make the rules. Capiche?!  Anyway, my justification is that Dr. J played this on Your Tuesday Afternoon Alternative the other week and, frankly, everyone needs a bit of Jay Farrar in their lives.  To my mind, he’s got an uncanny ability to make the listener empathize with the protagonist/antagonist in his songs, which leads us neatly onto…

1b. – Matt Derda & The High Watts – Moonshine.  In a similar vein to Farrar, Matt Derda’s got the enviable ability to summon up characters that inhabit his songs in 3D, with fully rounded lives. None more so than the back woods distiller/bootlegger who’s the subject of ‘Moonshine’, originally featured in his 2022 ‘You Didn’t Know’ release. Whereas the album version can be thought of in terms of a widescreen, technicolor ‘family matinee’, the opening track from the gratefully received ‘The Law Office’ Live EP is the full John Woo ‘X-rated’ ketchup splatterer.  Due in no part to young Derda’s blistering guitar work.  More please!

2. Mike Bankhead – Latent.  Ok, could easily have gone with the beautiful ‘Mont Blanc Massif’ from Mike’s project with Ruth Fawcett (Yeah! Up the Brits!), ‘We Met In Paris’, but just had to go with this barnstormer from the ‘I Am Experienced’ EP.  Casting the mind back, I’ve got a feeling that the first episode of ‘Your Tuesday Afternoon Alternative’ that I caught featured Mike in session and that’s why this one’s probably stuck with me.  Regardless, you just can’t argue with the driving riff and barely contained fury/disdain that Mike brings with the lyrics.  Definitely get the impression that, if it wasn’t in polite company, this song would happily take you outside and give you a proper kicking by the stage door.  Proper punk in my book.  This brings me to my next pick…

3. Elephants & Stars – Bled Out At The Scene. The first salvo from their awe-inspiring ‘Get Your Own Army’ EP, which features more hooks than a pirate convention.  Whilst featuring riffs that’d strip the paint off a battleship at 1,000 yards, there’s a real delicacy in the lyrics, that mourn the seemingly inevitable dissolution of a relationship.  No anger, no accusations, just helplessly observing the inevitable.  Which, inadvertently, segues neatly to my next pick.

4. Will Payne Harrison (feat. Liv.) – Full Moon Fever (from the ‘Tioga Titan’ Deluxe edition LP).  If I was given an award for ‘Single of the Year’, then I think that this would definitely be somewhere in the top one.  Unlike ‘Bled Out At The Scene’, this haunting beauty delicately documents the end of an affair with two parts regret, three-part recrimination, and a good dash of whisky in the face.  Will’s deft lyricism and stripped-back musicianship are heartrendingly brought to life thanks to the vocal contribution of Liv., whose delivery here is nothing less than immaculate.  Whilst the prevailing rule may be that ‘earworm’ tends to refer to more upbeat, ‘poppy’ numbers, this one sticks with you and you can’t help but find yourself humming along to it as you go about your day.  A classic?  Well, you tell me?

5. Van Plating – The Heron.  To be totally transparent, I could quite happily have picked any and all tracks from Van’s new record, ‘Orange Blossom Child’, for my ‘best of the year’ so far.  It really is the ‘Swiss Army Knife’ of records, from sumptuous stompers like the title track (featuring the aforementioned Mr Harrison on Killer Axe), through to the more delicate numbers like ‘Joshua’ that tug the heartstrings as deftly as the most practiced of pickpockets.  However, for me, it’s this debut single that just demands attention. It’s not so much a song as the soundtrack to a songwriter’s life, where you just need to close your eyes and you’re utterly immersed in her environment.  And yet, like all superstars (and I’m absolutely convinced that we’re lucky enough to be witnessing ‘one of our own’ heading ineffably towards the ‘big leagues’), The Heron wisely counsels that whilst we mere mortals can look, we’re not getting to the other side of the velvet rope.  In the third verse, Van sings, “Looking for a hint to come my way.  A billboard I could stand on.”  And there’s a sense of inevitability about it.  Some folks just belong on that billboard, and I’m convinced Van Plating is next in the queue.  And if there’s one thing we Brits know about it’s queuing!

Cheers!!

Rocking the Year Away: The Irreplaceable Value of Favorites and Best Of Release Lists in 2023

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Hey there, Music Friends and Rock ‘n’ Roll rebels, gear up for a wild ride through the sonic landscapes of 2023! What is life without the beat, the rhythm, and the timeless melodies that drive us? It’s often said that music is the soundtrack of our lives, and the ‘Best Music/Fave Music of 2023’ list is the ultimate playlist for a year’s worth of unforgettable memories and moments. In a world where trends come and go like fleeting fads, these annual lists are a testament to the enduring power of music. So, in the next several weeks, we will explore favorites, new discoveries, and the return of old joys that were released in the past spin around the sun.

In a world that never stops evolving, the past is a treasure trove of pure, unadulterated rock ‘n’ roll magic. Enter the ‘Best Of’/’Faves Of’ releases for 2023 – those timeless lists and collections that remind us why rock music is not just an art form; it’s a way of life. A day without music is like a day without air. In the spirit of reflection and the drive for great music, let’s dive headfirst into the artists, albums, and music of 2023 and explore why they are a musical necessity that keeps the rock spirit alive. Think back to the blazing guitars of Bob Mould or the revolutionary sounds of The Replacements —those moments in music history when artists transcended their time and space and became icons. ‘Best Music of 2023’ celebrates the present while preserving a piece of our collective musical heritage. It reminds us that, amid the ever-changing landscape of the music industry, rock ‘n’ roll’s rebellious spirit persists in the discovery of new songs.

Unearthing Hidden Treasures

The world of music is an endless treasure chest, and some of its most precious gems often lie hidden in the shadows. Whether it’s a local indie band or an underground hip-hop artist, the list of favorite releases is a spotlight on these unsung heroes. It’s a celebration of the audacious, the avant-garde, and the artists who dare to defy conventions.

Imagine the joy of discovering a hauntingly beautiful ballad by an obscure folk artist or a mind-bending electronic composition that defies categorization. The list of favorite releases opens doors to musical experiences that might otherwise remain hidden from the mainstream. It encourages us to venture beyond the comfort of radio airwaves and explore the uncharted territories of sound.

A Testament to Innovation

Music is not a stagnant pool; it’s a river that flows with innovation and reinvention. Each year, the ‘Best Music/Fave Music of’ lists serve as a compass, guiding us through the ever-evolving landscape of genres and styles. They shine a light on the artists who are pushing the boundaries of what’s possible, reminding us that the spirit of experimentation is alive and well.

Consider the genre-bending fusion of jazz and hip-hop or the mesmerizing synthesis of electronic and classical elements. These boundary-breaking compositions are often tucked away from the mainstream spotlight, but ‘Best Music/Fave Music of 2023’ makes sure they get their moment in the sun. It is a testament to the artists who are fearlessly leading music into uncharted territories.

Cultural Time Capsules

Music is not just about melodies and lyrics; it’s also a reflection of the times we live in. The ‘Best Music/Fave Music of 2023’ list is a cultural time capsule that captures the essence of the year. It’s a snapshot of the collective consciousness, a mirror of society’s hopes, dreams, and struggles. These lists preserve the soundtrack of our era for generations to come.

In 2023, as we grapple with the complexities of a rapidly changing world, music remains a constant companion. The ‘Best Music/Faves of 2023’ list reminds us that, even in times of uncertainty, art continues to thrive. It’s a testament to the resilience of human creativity and the power of music to provide solace, provoke thought, and inspire change.

A Chronicle of Diversity

One of the greatest strengths of music is its ability to bridge divides and unite people from diverse backgrounds. The ‘Best Music/Fave Music of 2023’ list is a testament to the rich tapestry of voices, cultures, and perspectives that make up music. It celebrates the kaleidoscope of sounds and stories that define our world. Alternative, Acoustic, Americana, Country, Hip Hop, Indie, Soul, and more genres were well represented in terrific releases of 2023.

Whether it’s the country-soulful ballads of an incredible artist like Van Plating or the powerful and direct lyrics of Matt Derda these lists recognize that music knows no borders. It’s a universal language that speaks to the heart and soul, transcending linguistic and cultural barriers. In a world that sometimes feels divided, the ‘Best Music/Fave Music of 2023’ list reminds us of our shared humanity through the power of music. There is always new discovery to be found and that reminds us that there is something good in the world.

A Call to Musical Adventure

In an era where playlists are often curated by algorithms, ‘Best Music/Fave Music of 2023’ invites us to embark on a musical adventure. It encourages us to step outside our comfort zones, to explore new genres, and to embrace the unknown. It reminds us that, in the vast sea of music, there are endless treasures waiting to be discovered.

Picture yourself diving headlong into the psychedelic soundscape of a progressive rock band or getting lost in the poetic lyricism of a folk singer-songwriter. These annual lists are a call to arms for music lovers everywhere to expand their horizons and discover the beauty in the unfamiliar. They invite us to celebrate the diversity of music and to cherish the joy of exploration.

The ‘Best Music of 2023’ list is not just a compilation; it’s a testament to the enduring power of music to inspire, provoke, and unite. It reminds us that, in a world of fleeting trends and ever-changing landscapes, music remains a constant source of solace and inspiration.

So, fellow music fans, embrace the ‘Best Music/Fave Music of 2023’ list with open ears and open hearts. Let it guide you on a journey through the sonic wonders of the year, introducing you to artists and sounds that may become the soundtrack of your life. In a world that sometimes feels chaotic and uncertain, let music be your anchor, your refuge, and your source of boundless joy. Keep the turntable spinning, put the headphones on, and let the music of 2023 set your soul free.

Matt Derda Best of 2022

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One of our favorite discoveries of the past few years was Matt Derda & The High Watts! They released a stellar record in 2022 and so we thought what better way to celebrate an amazing year in music than to ask Matt to write about a few of his favorite releases from this past trip around the sun, and to our joy he agreed!

Thank you, Matt!

2022 was definitely the year of independent music for me. Most of the music I listened to this year was by bands that aren’t signed to a label or receiving tons of press, although they should be. As you’ll see from this list, I think they are just as good as one of the all-time greats, who also released a new, unexpected album this year.

Matt Moran – Heartache Kid

‘Matt Moran’s Heartache Kid is what Country music is supposed to sound like. I grew up listening to Country music in the 90s and it wasn’t until the late 90s/early 2000s that mainstream country music turned south (pun intended). Until then, there were a lot of gems regularly on the radio, but occasionally they would play Travis Tritt and you’d resist the urge to jump out of the car, into traffic on the highway. Heartache Kid is reminiscent of ’90s Country music and there is not a bad track on it. I warn you if you listen to this record, songs like Palomino, Heartache Kid, and Black Sedan will be stuck in your head for weeks. But it’ll be okay because you’ll love them.

Favorite song: Palomino

Bottlecap Mountain – Fib Factory

One of my favorite discoveries on social media is the Austin, TX-based band Bottlecamp Mountain. I discovered them via Twitter and we’ve since become friends. Their songs are prolifically melody, with a little bit of grit and just enough twang. It’s perfect. Their songs are catchy and sound big. They fill up the space and make you emotionally connected to the songs. The lead single from this album, “Kool,” is a song I wish I had written. It’s a fun banger that is all about what you deemed dope back in your younger days. I’ve put the song “Tin Can Belief” on many playlists. It’s got a jangly rock vibe that combines R.E.M., Big Star, The Replacements, Soul Asylum, and the Gin Blossoms. If you are a fan of 80s/90s indie rock, you’ll want to spin this record.

Favorite Song: Tin Can Belief

Elephants and Stars – Last Chance Power Drive

Now I’ll change things up with a band that is straight-up rock n roll. Elephants and Stars are based in Toronto, Canada. I don’t know what to say about them other than they are perfect. They’ve quickly become one of my favorite bands. They know how to write a chorus and I’m a sucker for a great chorus. Each song is an anthem that you picture a giant audience singing along to. I got a preview of this record before it came out and I’ll tell you what I told them, it’s everything I wanted from an E&S record. Have you ever heard a song you loved by an artist and you bought the album hoping all of the songs would sound like that only to be disappointed? Last Chance Power Drive will not disappoint. It’s all songs that are what you want to hear. To me, that is a perfect record. Also, I should note there is an amazing cover of the song “I Really Want to See You Tonight” on this album. The original song is not my jam at all. However, Elephants and Stars kick it into overdrive. Actually, power drive is the perfect term to describe not only this album but Elephants and Stars music overall.

Favorite song: Turn It All Around

Eddie Vedder – Earthling

In 1993 I received a scholastic book magazine at school. One of the items was a VHS tape of music videos set to highlight clips of NBA players. Being a huge basketball fan, I somehow talked my parents into ordering a non-book from Scholastic. One of the videos on the VHS was clips of Seattle Supersonic Shawn Kemp dunking to Pearl Jam’s song Go. I was hooked. As I grew up, Pearl Jam, and especially the lyrics of Eddie Vedder played a huge role in my life and helped me get through those terrible teenage angsty years. Now, he’s helped me get through a global pandemic. 

This year Eddie Vedder released the unanticipated Earthling, partnering closely with Andrew Watt. The story behind the album is that it wasn’t really planned, they just started making it and it came together pretty fast. You can tell by the songs that Vedder had things in him that just needed to get out. 

One of the critiques I’ve heard of the album is that a lot of the songs sound like other artists. Once you know the stories behind those songs, it makes a lot of sense. The Long Way sounds like it was a Tom Petty cover. In fact, Benmont Tench plays on the song and they got his organ out of the Heartbreakers clubhouse for the first time since Tom’s death for this song. Ms. Mills sounds like it could be on Sgt. Pepper. The song is about a piano at Abbey Road Studios that has been named Ms. Mills. Oh, and Ringo Starr played drums on that song.

Another standout is the song Brother Cloud, which is about dealing with the loss of a loved one. It starts off light, but quickly ascends into the stratosphere and closes with an epic fuck you to whoever left him on this earth. The album is great. I highly recommend giving it a listen.

Favorite song: Brother the Cloud

Jason Johantges Best Of 2022

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My Favorite Music of 2022

Who says rock music is dead, or dying? 2022 has been an outstanding year for rock music that showcases real musicians playing real instruments.

Rock may be a bit underground these days but it always excels when it is rebellious with a chip on its shoulders. So let’s talk about my favorite artists and music from 2022. We are seeing an incredible amount of rock musicians these days that don’t get any exposure because rock music hasn’t been mainstream in forever. I love seeing the new generation pick up and excel at playing real, live instruments while playing homage to rock heroes. Let me share with you some of my favorites that, if you’re a lover of rock and roll and real live musicians, you should check out.

Oh yeah, who am I, and what qualifies me to ask for your time to read or care about my lists? I’m Jason Johantges and not only have I been a founding member of the local band Ghost Town Silence since 2005 but I’m also the co-host of The All Things Blues and Southern Rock podcast with my buddy from Fargo (Brrrrrr) ND, Brian Jones. We focus a lot on new or lesser-known acts that are blues or southern rock aka rock from the south. You hear some episodes with legends or artists outside that blues and southern rock genre as well since we love all things rock.

Best Band in the Land Division
● Blackberry Smoke (Atlanta) – These are the southern rock flag bearers and are one of the top live performers out there. They perfectly mix Skynyrd, Zeppelin, and Stones with a bit of country flair at times. Their most recent album “You Hear Georgia” is a great starting point but their masterpiece is “The Whippoorwill” of which they’re currently on tour celebrating the 10th anniversary. They never have a bad performance and each show is two hours long. Their live show is not to be missed no matter the tour. They released an album for record store day titled “Stoned” that is Rolling Stones covers and my clearly biased opinion is they cover the Stones better than anyone.

Local(ish) Talent Division
● The Cold Stares (Evansville, IN) – Trio that is a mix of Zeppelin, Buddy Guy, and Rage Against the Machine. Heavy Hitters with riffs and grooves done by great dudes. PLEASE check ‘em out with their latest record “Heavy Shoes.” They have a new album coming out in early 2023 that is incredible(I’ve had a sneak peek). This band should be skyrocketing to the top of the rock heap and should be on your playlists.

● Mojo Thunder (Lexington, KY) – AC/DC meets Skynyrd. Their album “Hymns from the Electric Church” will get you fired up. They are heading to Europe in early ‘23 then will be back in the states playing at their favorite KY, OH, and midwest locations.

● Erin Coburn (Cincinnati, OH) – Incredibly talented 21-year-old blues/rock guitarist and singer. She even shreds on the electric ukulele. Always on tour. Check her out on youtube and all her social media accounts. New record coming in ‘23.

https://www.youtube.com/watch?v=nckRd__Ruqw

● Scotty Bratcher (Dayton, OH) – Veteran Blues-rock guitarist. He’s back doing solo work after a stint with The Desert City Ramblers. Check out his album “That Album.” Lots of local shows and brings the Allman Bros, Zeppelin, and ZZ Top vibes to each show.

Nashville Division
● Goodbye June – Total heavy hitter rock with blues and southern touches. Their latest album “See Where the Night Goes” is on my top three for the year. Also incredible live performers. Three records in and they’ve hit their stride with a new album coming in late ‘23. Their song “Three Chords” is the best arena rock song in years. Catch ‘em now before they’re headlining bigger venues.

● Them Dirty Roses – Country fried Guns n Roses. Road dogs are always on tour, somewhere. Mix in 80’s rock with southern/country-inspired hooks. They put on a fantastic live show. They released four new tracks in ‘22 with hopes of a new album in ‘23. Check out tracks “Sunday Drunk” and “Holy Roller”.

● Leilani Kilgore – Up and coming blues rock guitarist and singer. One of the next big things. Think Samantha Fish mixed with Joe Bonammassa with some Joan Jett thrown in. She has six great singles out, each with a video on youtube. Album is expected in ‘23 and she’s getting fantastic press everywhere she plays. Here’s a live performance:

● Jax Hollow – Another up-and-coming female guitarist and singer. Much more rock influence and she can shred. Her first album was produced by the legendary Michael Wagener. The new album is coming early next year. Think of her as Jimmy Page and Robert Plant rolled into one.

● Tyler Bryant and the Shakedown – Rock, blues, and metal with a classic rock pedigree as a second guitar player, Graham Whitford, is the son of Aerosmith’s Brad Whitford. Their latest album “Shake the Roots” is incredible. Maybe the best at balancing traditional blues and heavy guitar rock from song to song. Their album “Shake the Roots” is in my top 5 for the year.

● Larkin Poe – Sisters that have been laying down beautifully harmonized blues and folk rock for many years. Rebecca plays lead guitar and takes care of lead vocals while her sister Megan plays lap steel guitar and provides backing vocals. Check out the album “Blood Harmony” was released this past November. Another great live band and no one does vocal harmonies better. Rebecca is also married to Tyler Bryant making them the best married rock couple of the moment.

● The Dead Deads – Female trio that mixes the best of alternative rock, metal, and pop with guitar riffs and vocal melodies for days. Their 2021 record “Tell Your Girls it’s Alright) made my top three. Check out their cover of Mother Love Bone’s “Chloe Dancer” or their duet with Slipknot’s Corey Taylor in “Murder Ballad pt 2”. If you love luscious vocals with some meaty rock hocks this is your band.

The All-Others Division
● Bourbon House (Milwaukee – ish, WI) – Female-fronted Zeppelin-inspired blues rock. Their latest album “Into the Red” is a great choice. Plenty of videos on youtube as well. They’ve released four new tracks so far this year with a new album coming in ‘23. One of the best blues hard rock bands you’ve never heard of.

● Joyous Wolf (Anaheim, CA) – The new sound of classic/modern rock. Their frontman, Nick Reese, is high-energy and known for his on-stage acrobatics. They’ve played shows with Classless Act, Dorothy, and many other up-and-comers. Maybe the heirs to the modern rock throne. Rumors of a new album in ‘23.

● Marcus King (Greenville, NC) – MAYBE, the most talented young guitarist on the planet. Check out “Young Blood” released this past fall. Gov’t Mule’s Warren Haynes has previously produced records for Marcus. He embodies the spirit of all that’s good in RB/Rock/Blues and his live shows are not to be missed. Just mesmerizing guitar work.

● Jane Lee Hooker (Brooklyn, NC) – Powerful blues rock out of NYC. If you love guitar work this band has dual lead players with solos for days. Powerhouse singer Dana “Danger” has one of the best voices in the genre. Their album “Drive” released in the spring of 2022 is a top release of the year. Occasionally they make it out our way so be ready to jump on tickets for that rare occasion. A personal favorite band for me.

● Dorothy (San Diego, CA) – THE voice and flagbearer of female-led rock/hard rock. Her latest album “Gifts from the Holy Ghost” plays homage to modern, classic, and blues rock with some of the best musicians in the business laying down tracks for her. Full of uplifting and inspirational lyrics taken from her life experiences. This album was also produced by Trev Lukather son of Toto great Steve Lukather.

● Tuk Smith and the Restless Hearts (Nashville, TN) – Former Biters frontman who just released a hook-laden rock record this year titled “Ballad of A Misspent Youth”. This is a refreshing mix of mainstream rock music with songs around the three-minute mark. He was originally supposed to open for the Arena Tour until record release delays interfered. Then he was replaced by…

● Classless Act (Los Angeles, CA) – Take the cream of the 80’s Hollywood metal scene (Guns n Roses, Motley Crue) and mix it with useful exuberance and tons of fun and you have Classless Act. These young rockers are having fun playing shows, whether opening for Dorothy or Def Leppard. Their debut album “Welcome to the Show” was released this past summer and, while not breaking new ground, laid the groundwork for a future full of fun and guitar riffs. Check out Motley Crue’s Vince Neil and The
Darkness’s Justin Hawkins lent their vocals to tracks on the album. Nostalgia/Classic Acts Not to be Missed.

● LA Guns (Los Angeles, CA) – This band has had a late-career resurgence with three great recent albums culminating in the 2021 masterpiece “Checkered Past”. This album keeps the 80’s/early 90’s metal spirit with modern sensibilities. Guitarist Tracii Guns was a founding member of Guns n Roses (hence the “Guns”) with Axl Rose. I saw them this past summer on the Sonic Slam tour with Faster Pussycat and Tom Kiefer (Cinderella) and they were the highlight of the show. Singer Phil Lewis sounded no different from 1988 (no vocal tracks either) while Tracii and another guitar Ace Von Johnson ran around the stage with guitar heroics not sadly seen since 1992. They are the cream of the 80’s hard rockers crop and rumor has it their upcoming 2023 album is their best yet.

● Tiffany (Los Angeles, CA) – Yes, THAT Tiffany released a pop-rock album in November titled “Shadows” backed up by LA Guns’ Ace Von Johnson. This album is a perfect mix of pop hooks and rock guitars. I originally listened to this album based on morbid curiosity but walked away more than impressed. I’ve spun this album two dozen times since its release. Drop any preconceived notions and enjoy.

https://www.youtube.com/watch?v=zqBxTsNouEE

Jason’s Top Five Albums of 2022

10. Dorothy – Gifts from the Holy Ghost

9. Moon City Masters – The Famous Moon City Masters

8. Tiffany – Shadows

7. Larkin Poe – Blood Harmony

6. Jane Lee Hooker – Drive

5. Tuk Smith and the Restless Hearts – Ballad of a Misspent Youth

4. Bourbon House – Into the Red

3. Marcus King – “Young Blood”

2. Tyler Bryant and the Shakedown – Shake the Roots

1. Goodbye June – See Where the Night Goes

We are entering a great time in music where most bands are independent acts and can do what they want. Because of this, we are seeing a steady stream of great, yet diverse music more than ever before. So go listen and find some new music that you didn’t know about and it can become a favorite on your playlists.

Go follow, like and subscribe to my podcast to learn about new rock music. Because rock ain’t dead, not even close. It’s just back to being underground and rebellious. Go support some of these great artists.

Apple podcasts and Spotify

Follow me on Twitter @JasonATBSRPod and on Instagram @all_things_blues_southern
Thanks, everyone, let’s rock!

Rob Perry Best of 2022

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Every year we ask some of our music friends to share some of their thoughts on some of the albums/singles that were released in the past year.

Our good friend, fellow Connells fan, thoughtful social media user, and one of the most ardent new music fans Rob Perry agreed to share his thoughts about new music from the past year.

2022, for me, has been a year in that I got to get back out into the live music scene a bit and enjoy a lot of great music released by my favorite artists and some new ones, too.  I saw wildly enthusiastic live shows by Superchunk and Built To Spill (both with new albums this year) and more subdued ones like Waxahatchee and Sharon Silva.

As far as this year’s album releases go, here are five of my favorites.  All are records that I find easy to put on the turntable and enjoy from front to back.

Archers of Loaf – Reason in Decline … their first new album in over two decades was highly anticipated by long-time fans. But this record doesn’t have the signature noisy gnarl of the early releases. This is a band, seemingly now with a different sense of purpose. When I listen to this album I hear impeccably crafted songs, still distorted but looking more positively at our ever-changing world.

Favorite track: “Mama Was a War Profiteer”

Tess Parks – And Those Who Were Seen Dancing … Here’s another record that’s been a long time coming. When released, it had been almost 10 years since Park’s last album “Blood Hot”. On this one, her ethereal vocals, mixed with sonic influences of Oasis, Patti Smith, and Primal Scream provide a nicely wrapped feeling of 90s nostalgia. Drop the needle on this and let your psyche explore it all.

Favorite track: “Do You Pray?“

Rolling Blackouts Coastal Fever – Endless Rooms … This is the group’s third long play and it highlights their consistency and creative growth. What I love about this band and album is the incredible combination of songwriting skill layered intricately into their three-guitar interplay. There seems to be an ego-free vibe among the six-stringers Joe Russo, Joe White, and Fran Keaney. While this release doesn’t use the same template as the band’s debut “Hope Downs” it does expand on the definition of what a great Rolling Blackouts Coastal Fever record can be.

Favorite track: “Open Up Your Window”

Yumi Zouma – Present Tense … The New Zealand quartet’s fourth album is a subtle shift from their previous records. While it’s still shimmering Dream Pop, this release hints at moving a bit towards mid-80s Fleetwood Mac or Hall & Oates. The band has done a great job of weaving a variety of textures into the songs on this record. “Present Tense” has a little something for almost everyone and listening will most certainly augment your mood.

Favorite track: “Mona Lisa”

Spoon – Lucifer on the Sofa … In February, one of my favorite bands “finally” released their latest record after five long years. As their music always seems to be evolving, I wasn’t sure what the signature album sound might be. For me, the edgy-riffed “The Hardest Cut” definitely sets the tone but all of the tunes have a roughhewn and sparsely produced feel. The record sounds like it could have been recorded live in your living room. As usual from Britt Daniel, there’s excellent songwriting and a nice mix of tempo.

Favorite track: “Wild”

We want to express our gratitude to Rob for taking the time to write one of these reviews.

Phil Yates Best of 2022

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Every year we ask some of our music friends to share some of their thoughts on some of the albums/singles that were released in the past year.

Our pal, Phil Yates of Phil Yates & The Affiliates released a terrific record, A Thin Thread, on July 15th of this year, and much to our joy, he agreed to share his thoughts.

Do you ever tire of hearing people say that there is no good new music nowadays? The music released in 2022 should silence those fools, but you and I know nothing will silence people who think that way. My wallet wishes that I was one of those fools who did not care about new (and old) music this year. Other than what is in the top spot, the rest of my top ten albums of 2022 is in no order.

Wet Leg – Wet Leg. No new release in recent memory has given me as much joy as Wet Leg’s debut record. My actual age is quickly approaching my spiritual age, meaning that I am probably more prone to embracing my inner curmudgeon these days. When a band has so much buzz behind them, my instant reaction is to dismiss them. I am glad I did not do that with Wet Leg.

The record is so much more than the singles released in 2021, “Chaise Longue” and “Wet Dream”. The rest of the record is full of hooks. It feels like the best music from the ’90s but is not a retro record. One of my highlights of the year was seeing them in March at Chicago’s Thalia Hall. It was absolutely thrilling to see a band clearly in its ascendancy yet still figuring things out. I cannot wait to see what Wet Leg does for an encore!

Cate Le Bon – Pompeii. This record contains probably my favorite song of the year, “Remembering Me”. The video to it is incredible. Cate is one of those musicians that I will follow any weird or challenging path she happens to forge.

Elvis Costello & The Imposters – The Boy Named If. I had to check the calendar again. This album came out in January 2022. I am a huge Costello nerd. Huge! This record made me so happy. It is his best since 2004’s The Delivery Man. It is closest to Brutal Youth with respect to the sound of the record. If that does nothing for you, we probably cannot be friends.

The Beths – Expert in a Dying Field. Have The Beths made a bad record yet? Do they even know how to make a bad record? I embrace our new Kiwi rock overlords.

Young Guv – GUV III & GUV IV. I’m cheating by combining both Young Guv records as one record. It is full of jangly goodness. These songs sound even more rocking live. One of the highlights of going to England this summer for me was catching Young Guv in Bristol. Great show!

Rolling Blackouts Coastal Fever – Endless Rooms. This Australian band constantly hits my sweet spot.

BOAT – No Plans to Stick the Landing. I’ve been a fan of this Seattle band for a long time since probably 2009’s Setting the Paces. I get the feeling they have the same influences as I do: Guided By Voices, Elliott Smith, Teenage Fanclub, and Pavement.

Spiritualized – Everything Was Beautiful. This is a mild upset. When asked to do lists in the past, Spiritualized normally takes the top spot if they released a record in that year. That to me is weird because I never think to name them as one of my favorite bands. I should rectify that and start name-checking them every chance I get.

Angel Olsen – Big Time. Angel Olsen sounds like a country-leaning Roy Orbison on this record. It is “big” and well worth your “time”. Angel Olsen is another artist I will follow on whatever creative path she takes.

Sloan – Steady. Has Sloan made a bad record yet? Do they even know how to make a bad record? Long live Canada’s answer to The Beatles!

I should have an addendum to the list. I also put out a record with my band, Phil Yates & The Affiliates, called A Thin Thread on Futureman Records. If I was feeling particularly cocky, I would have put it in the Top Ten of 2022. For now, let’s leave it as a nice little footnote for this year.

The year 2022 was great for music books, too. I need to get my hands on Bob Dylan’s latest book. Christmas is coming, so family members reading this, consider that a hint. My favorite book from a musician was Jarvis Cocker’s Good Pop, Bad Pop. It is a great reflection on the memorabilia we collect and what makes some of it keepable and other portions of it more disposable. I could hear Jarvis’ voice whilst reading it.

For those of you wanting to give yourself a bit of a challenge, PJ Harvey’s Orlam should be on your reading list. It is a novel-length poem written in the old Dorset dialect. Don’t worry. There is a glossary of terms at the back of the book.

Thanks for reading! May all of you have a wonderful, music-filled 2023!

Best of 2019: Rob Perry’s Picks and Thoughts

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Below Rob Perry has listed ten albums that are his favorites released in 2019.  They are in no particular order but he can tell you that they all are really fine recordings.

  1. THE GET AHEAD – Deepest Light – April 2019 – Jullian Records

The+Get+Ahead-7The Get Ahead calls their eclectic blend of music “Americana Soul”. The unique combination of fiddle and saxophone, best done on the title track, naturally had me dreaming of Little Feat and the late Lowell George. Lead vocalist Nathan Earle’s tone really draws you in while the accomplished band is tight and cohesive.

My favorite tracks on the album are Sister Cities, Faint Outline, Deepest Light, and Special Breed.

  1. HISS GOLDEN MESSENGER – Terms of Surrender – September 2019 – Merge a4130119723_10Records

On this latest release, M.C. Taylor appears to have taken his Indie Folk collection of ‘would-be’ songs of despair and woven them into expressions of hope.  This album is filled with brilliant flashes of optimism and it’s the band’s best release in the past 5 years. Favorite songs include My Wing, Katy (You Don’t Have to Be Good Yet), and I Need a Teacher.

 

  1. NIGHT MOVES – Can You Really Find Me – August 2019 – Domino Music

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Thanks to The Current, KCMP radio for turning me on to this fantastic duo. Like the radio station, “Night Moves” calls the Minneapolis area home. This is their third album and boy is it a gem of dreamy psychedelia.

Don’t miss these tracks: Mexico, Strands Align, and Keep Me In Mind.

 

 

4. SUMMER CANNIBALS – Can’t Tell Me No – June 2019 – Tiny Enginesa1301309498_10

Part indie, part punk, this is an all-around razor-sharp record. This is what I imagine The Clash would be like if lead by a strong young woman. Enjoy the low-slung guitars arching upwards to Jessica Boudreaux’s weighty lyrics.

The best songs are One Of Many, False Anthem, and Can’t Tell Me No.

 

 

  1. LIZ BRASHER – Painted Image – January 2019 – Fat Possum Records

a3900028213_10With a thundering voice and a soulful style, Liz Brasher dropped her full-length debut LP in January 2019. The album has tinges of country, gospel, R&B, while weaving in elements of the Delta blues. Brasher doesn’t settle on one genre too long as she seems to effortlessly move from one style to another.

Her voice remains rock-steady, though. Must listens … Love Feasts, Cold Baby, and Blood of the Lamb.

 

  1. MATTIEL – Satis Factory – June 2019 – Heavenly Recordings

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I’ll bet Mattiel Brown grew up listening to all her parents’ albums. You can almost feel the Patti Smith, Velvet Underground, and Jefferson Airplane dripping from the creases of this record. It’s all-over-the-place funky-different, in a good way. I’m impressed with Mattiel’s vocal range and the way she easily seems to be able to switch vocal styles, too.

My favorite tracks are Keep the Change, Millionaire, and Populonia.

 

  1. FAYE WEBSTER – Atlanta Millionaires Club – May 2019 – Secretly Canadian

a1110224198_10Faye Webster’s new album is full of what I’d call melancholy folk-pop with tinges of soul and a little country thrown in there, too. Most of the tracks are gorgeously arranged and they seem to enhance Webster’s laid-back, hushed delivery. The pedal steel that appears on a few songs helps to add a brilliant and lush, layered sound.

My top songs include Kingston, Right Side of My Neck, and Room Temperature.

 

  1. STELLA DONNELLY – Beware of the Dogs– March 2019 – Secretly Canadian

a0497167441_10This is an indie pop record chock full of sweet-sounding songs, albeit with a killer bite. Donnelly writes songs that make you laugh, piss you off, and cause you to think. Plus, she’s really good at it. Guitar-driven hooks are her speciality. By the way, the title track is a stripped-down, solo anthem that’s both powerful and dreamy.

Other songs I enjoy are Tricks, Old Man, and Lunch.

 

  1. SHARON VAN ETTEN – Remind Me Tomorrow – March 2019 – Jagjaguwar

remind me tomorrow_sharon van ettenYou’ve probably heard of her. But this time around Sharon’s added some moody synthesizers to the mix. She hasn’t yet become too polite or politically correct but it’s evident she’s stepped out of her comfort zone, pushing boundaries and willing to explore more personal issues. This is her deepest and most complete work to date.

Potential to become a classic. Songs to hear … Comeback Kid, Seventeen, and Jupiter 4.

 

  1. JADE BIRD – Jade Bird – April 2019 – Glassnote Records

d77706-20190523-jade-bird-jade-birdLet me start by saying that this is not a perfect indie record. It is, though, a very nice debut album by an up-and-coming singer/songwriter. Her two greatest assets: Her gigantic voice and her amazing self-confidence. She won’t win album of the year awards for this record but it is a testament to what I think she’s going to become someday.

Three great songs included on this LP are Love Has All Been Done Before, Lottery, and 17.

 

Rob PerryRob Perry is an indie music superfan and one of the nicest people on the planet. His twitter account is @RobPerry64. Rob describes himself as MUSIC LOVER, Dreamer, Fly-Fisherman, USAF Veteran, LGBTQ+ Supporter from Plains GA & Raleigh NC, “Don’t get up gentlemen, I’m only passing through.”

Best of 2019: Gladgirl Shelly Hulce’s Picks and Thoughts

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downloadThe whole Maganaphone / Reel Love Studio or as I refer to them “Dayton’s own awesome Wrecking Crew” is going to be well-covered in a list for 2019! To be honest there are  probably multiple crossover’s on local lists, but I’m going off the grid here with my faves that are IN ADDITION to the amazing music coming out of Reel Love.

Let’s start with the NON LOCAL NOD’S:
“Who” by The Who was an incredible return to form!220px-The_Black_Keys_-_Let's_Rock
“Let’s Rock” by Black Keys* (*see nod to the Gabbard bros on my local list to tie this in.) was a powerful record.
“Internet Arms” by Diane Coffee was mesmerizing while sound fresh and connected to musical past and traditions.
“In the Morse Code of Brake Lights” by The New Pornographers was a biting record with melody and energy. (NOTE: January 29, Diane Coffee joins up with The New Pornographers as openers on the current tour!)

LOCAL NOD’S:
The Gabbard Brothers have had a head-spinning year, together and separately.
Joining the touring band of The Black Keys on the “Lets Rock” tour did not slow them down on self releases. I will do my best to count them all, and it’s A LOT!
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Andy Gabbard:
Under the artist name Strawberry Tapes, he released “Strawberry Tapes “Vol. 1” “
As Andy Gabbard he released the following:
“Trancer”
“Cedar City Sweetheart” and performed live as “Andy Gabbard and the Cool Ranchers”

With M.Ross Perkins, Andy created the digital release of “Gabbard + Perkins” a self titled sweet LP, featuring local favorite “Donuts at Bills”, a love note to the Centerville, Ohio institution, Bills Donuts.
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With Gabbard Brothers (Zack + Andy)
Single digital release, “Sell Your Gun, Buy A Guitar” was published while they toured in The Black Keys which tells you a little something about their fantastic work ethic and ability to craft a great song.

Zach Gabbard:
One of the many Gabbard Brothers productions from Zach’s Madison, Ohio farm studio, “Howler Hills”, comes his latest project “Sunday Creek Fed Birds”, released on the Gabbard Brothers home label, Sofaburn.

Seth-Canan

Other fave local releases from this past year included:
Black Sire self titled LP “Black Sire”
Seth Canan and Carriers “Strange Forces”

 

From D.Robins (Derl) Overthought Musik label comes the amazing “Album”, the brain child of Robins for the first annual “Local Music Day” event. This LP features many favorite local artists as guest vocalists and instrumentalists in roles you would not expect.

a3408849665_10Another fave is all the Overthought Musik releases of Derl’s, (D.Robins), self performed and produced projects recorded under his pen name “Peopleperson”, he set out between March and September of 2019 to re-release his past work, as he states, “for your pleasure/confusion.” His trademark Dayton Surf sound, as we came to love in The Motel Beds days, is ever present in the Dayton Music Scene, but with more electronica thrown in for good measure.

Over on the Gas Daddy Go label, the mind bending, sonic collage, “Land Baron of Barren Lands” from Don Thrasher’s electronic music project Crossfade Rivals was something to behold. A sound collage featuring a veritable powerhouse of local musicians.

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The Rockathon Label is still churning out more GBV releases than I can count (or afford), 3 GBV LP’s (Zeppelin Over China was a double LP), and Pollard side project as “Cash Rivers” rounds out 2019. GBV closes out the decade with a sold out NYE show in LA at the Teragram Ballroom tackling a 100 song set list. This team always wins at the rock games. GBV records will be on my top records lists every year, because they never stop.

Self released “Mobile Juke House Theater” by blues phenom, Noah Wotherspoon also needs to be included on a ‘Best Of’ list for the year.

thee-attack

From Poptek Records comes the long awaited, sophomore release from XL427, “Thee Attack”. Although officially release date is in January of ’20, digital releases have been served up via bandcamp during the pre-order phase. This attack was well worth the wait from bandleader and label runner, Andy Ingram.

So about the Reel Love / Magnaphone tsunami, I’ll step out for a second and tell all of you that I love all the faves that will be mentioned repeatedly on other lists (Amber Hargett, Dave Payne, and the like dominating the scene at the moment, I have to speak some of these titles, lest I blaspheme in the temple, number one being “Easy Is the New Hard” by Shrug).

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And I still get a huge endorphin rush from “The Transformation of Salvador Ross”.
Fun fun fun from John Dubuc’s Guilty Pleasures “Where Have I Been All Your Life” and the debut LP from The Paint Splats. (DANG IT, I said I wouldn’t overlap into Reel Love/ Magnaphone but it’s too hard not to do that when the music coming out from them is so good.) Okay, since I crossed over, I will end with this last fave, “Sympathetic Buzz” from the Tim Pritchard project, Superbloom.
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Shelly Hulce is THE Gladgirl in the Dayton Music Community who in addition to creating and promoting a wide variety of shows and specialty experiences, she writes about music, started Story Slam and related Story Telling in Dayton and is an active radio presence throughout the Miami Valley including as a DJ on WSWO Oldies 97.3 FM. She is a Freelance AFCI Certified Film Commissioner. Her artwork is also featured at local exhibitions and of course, cool rock concerts and shows. She is on twitter at @TheGladGirl.