Blake Red Presents “Scorpion”
Blake Red returns from a four-year studio silence with “Scorpion,” a compact, hard-edged anthem that pairs blistering alt-rock/metal instrumentation with pointed, survivor-first lyrics. Guitars bite, drums push, and Blake’s vocals ride the crest of the arrangement to craft a thrilling lead single for her upcoming EP “Out of the Cage.”
Scorpion opens on snarling, overdriven guitar and a roomy drum hit that immediately tells you that the next few minutes are going to be intense. The production favors impact over polish: guitars sit up front with saturated mids, bass and drums supply a muscular low-end foundation.
Blake’s vocal tone alternates between a controlled, evocative mid-range and a harsher, venomous top line. There’s no vocal gymnastics on show here, just pure attack which suits the track’s confrontational mood. These elements combine into a tight blast that feels like a modern punk-inflected rock single built for immediacy.
Blake’s multi-role involvement gives the track a personal, DIY edge without sounding undercut in production value. The drums are punchy and slightly compressed for impact, which keeps the verses driving. The mix choices favor attitude over sonic hygiene, which suits the song’s raw lyrics.
What “Scorpion” does best is concentrate rage into a concise, memorable form. The riffs are hooky in a bruising way, and the single’s directness is refreshing in an era when softer ambiguity is often the norm. If the track has limits, they’re in nuance; listeners who want layered metaphor or melodic unpredictability may find the song’s bluntness a little jarring.
All considered, Scorpion succeeds as a statement: musically muscular, lyrically purposeful, and well-suited to Blake Red’s persona as a genre-bending alt-rock/metal artist unafraid to confront dark themes.
https://www.instagram.com/blakeredrocks
Frances Ancheta Presents ‘Saving Graces’
After a hiatus of over five years, Frances Ancheta returns with an album three years in the making: “Saving Graces.” Combining elements of folk, pop, and blues rock, this is a quietly powerful record that wears its honesty on its sleeve. The nine-song collection finds the Filipina-American artist moving from the intimate, acoustic textures of past releases into a fuller band sound without losing the personal warmth that defines her work.
The lineup for this album features Toku Woo on lead guitar, Maia Wiitala on bass guitar and backing vocals, and Peter DeHaas on percussion. The minimal accompaniment keeps the arrangements uncluttered and places the spotlight on Frances’ vocals while still giving the songs a rhythmic backbone and occasional electric bite.
The album opens with “In My Time of Need,” an energetic single that explores relying on others when life gets difficult. This is followed by the musically distinct “The Place Where I Need to Be,” which is a warm, steady ballad that wrestles with the need for separation even when it’s painful. The lyrics and melody of these two tracks seem to announce the album’s broader theme of reaching for support while retaining personal agency.
One of the highlights of the album is the energetic “No More Judgments,” which features heavier instrumentation and is lyrically a fiercely independent callout track about not bending over backwards to satisfy others anymore.
The closer, “When That Day Comes,” leans fully into the folk genre and winds the record down with a future-oriented perspective. At the end of the emotional
rollercoaster that Saving Graces was, Frances leaves us with the most comforting feeling of them all: hope.
The engineering led by Bozho Lasich is notably tasteful on this album, opting for a few production choices that make the record sound close and immediate in accordance with the lyrics. Frances favors clarity over metaphor in her words, and lines about boundaries, recovery and everyday perseverance recur. But that plainness is the album’s power: these are songs meant to be entered and felt immediately rather than decoded.
Saving Graces is a rewarding listen for fans of intimate indie folk/pop and anyone drawn to songcraft built on lived experience and recovery. It’s nothing radical, but Frances Ancheta brings honesty, melodic sense, and a trustworthy band to these nine songs.
Sites/Socials:
https://www.francesanchetasongwriter.com
https://www.instagram.com/francesanchetasongwriter
https://www.facebook.com/francesanchetaSongwriter
https://www.reverbnation.com/francesanchetasongwriter
https://www.bandcamp.com/francesancheta
https://m.youtube.com/@francesanchetasongwriter215/featured
https://open.spotify.com/artist/4dKtDheKMLsJh4bgW5VtKd?si=xnaU9VlVQ7elSyLyPMFlJw
The Earthly Frames New Album ‘Vanity Pressing’
In 2017, Gabriel Walsh, under the long-running project The Earthly Frames took on an incredibly ambitious project under the title: “Rainbow Table”. With the seven colors of the rainbow together with black and white, he uses music to explore chromatic landscapes, each time crafting a concept album that challenges the listener.
2025 pushes this project into a new color: “Vanity Pressing” is the violet installment that marries Walsh’s longtime appetite for experimental textures with elements of radio-friendly pop music. He’s joined on this album by guest vocalists Shirley Kudirka, Aloysius Fortune, Katherine Koherence, and Busayo Oninla.
The record kicks off with “Thought Rays,” a single that could’ve passed itself off as a standard pop hit if it wasn’t for the electronic soundscapes and vocal distortion.
This is a common theme across the album, with “Gallows Girls” also featuring retro-futuristic synths and lightly mechanical vocal processing.
“Birthday Effect” is the other track released as a single, and changes up concepts in the form of a heartbreaking ballad that laments the endless march of time. This single uses ethereal vocal layering and demonstrates Walsh’s new inclination for lush, radio-ready sonics without erasing his experimental fingerprints.
In addition to musical experimentation, this album shows off Walsh’s abilities as a thinker and a songwriter, as he masterfully pairs melancholy with sharp wit. The record interrogates self-image, spectacle, and solipsism while balancing confessional lines with moments of abstract, imagistic phrasing.
Fans of Walsh’s more adventurous work will find plenty to admire, as the conceptual throughline of the Rainbow Table remains. However, the record’s willingness to flirt with pop structures makes it more accessible to the average listener, and there’s bound to be something here that suits your vibe.
Overall, Vanity Pressing is a confident, listenable entry in Gabriel Walsh’s project. It’s smartly produced, emotionally truthful, and still strange enough to stand out. It proves The Earthly Frames can expand toward pop without losing the weird, literate sensibility that has long been the project’s hallmark.
https://www.earthlyframes.com/
Jason Kao Hwang Presents ‘Myths of Origin’
Violinist, composer, and conductor Jason Kao Hwang stepped onto the Roulette stage at the 2022 Vision Festival to lead a hand-picked improvising string orchestra in performing his powerful statement defying social expectations of orientalism.
Now released as “Myths of Origin,” this sprawling composition confirms is a testament to Hwang’s legacy as one of contemporary music’s most fearless boundary-crossers. He creates chaos through his music, not for the sake of dissonance, but to build order out of it at the end.
From the outset, Myths of Origin positions itself as more than a concert document. Hwang frames the work as a rejection of cultural pigeonholing and reductive “Orientalist” narratives. Instead, he invents a musical language that dissolves distinctions between East and West, with the eerie string harmonics and percussive bursts of “The Collapse of Gravity,” drawing inspiration from the likes of Penderecki.
“Multiply and Rise,” on the other hand, is more representative of the fusion of jazz and classical, notation and improvisation. It’s a powerful, funk-inflected march that brings a dance-floor energy rarely found in art music.
https://jasonkaohwang.com/myths-of-origin
https://jasonkaohwang.bandcamp.com/album/jason-kao-hwang-myths-of-origin
The final movement; “Never Forgotten,” is hauntingly somber, stretching like an elegy and masterfully using silence and space as a musical device. It immerses the listener further and further until at some point the music stops, and you’re only brought out of the reverie by the applause of the live audience.
The power of Myths of Origin lies not just in Hwang’s conception but in the collective he assembled. The strings dominate the soundscape, but the drums add rhythmic volatility while the guitars and bass introduce a diversity of timbres. Individual players shine briefly, but the focus is squarely on group momentum.
This performance succeeds because it is both a bold artistic statement and an emotionally gripping journey. It begins in uncertainty, builds toward collective ecstasy, and closes in reflective quiet.
‘Tree to Tree’ by Ashley Maher Out 10/15/2025
Veteran singer-songwriter Ashley Maher returns with her eighth studio album, “Tree to Tree.” With this album, Maher continues her lifelong mission of fusing Western songwriting with the polyrhythmic fire of West African music.
Recorded entirely in Dakar, Senegal, alongside some of the finest mbalax and jazz musicians from Senegal, Benin, Gabon, Congo, and Côte d’Ivoire, the album stands as a cultural bridge: fiery, intimate, and deeply rooted in collaboration.
The Mbalax-inspired percussion drives the songs with vitality, while jazz-inflected instrumental lines weave in and out, creating a musical backdrop that’s alive with movement. Maher’s voice, expressive and crystalline, is the anchor. She sings with clarity and conviction, carrying lyrics filled with poetic imagery.
You get a taste of this right in the first track, “Music,” a beautiful anthem on the power of music to liberate us and release our burdens. With ethereal instrumentation backed with playful percussion, it sets the mood for an album quite unlike anything you’ve heard before.
The track “American in Dakar” takes inspiration from Sting’s classic, “Englishman in New York,” and puts a Senegalese twist on it. It’s a perfect choice for the concept, as the lyrics reflect Maher’s dual identity as a Western songwriter steeped in African rhythms.
The album closes with “Nenam,” a single that blends Wolof verses into the lyrics, creating a true cultural fusion between America and West Africa. Together with its lyrical intimacy, this single radiates warmth and groove, serving as the perfect ending to the musical experience.
Much of the album’s strength comes from its authenticity. This is not surface-level fusion but a continuation of relationships Maher has cultivated over decades of working in Dakar. The ensemble playing on Tree to Tree reflects that history: it is vibrant, deeply rooted in tradition, and yet flexible enough to embrace Maher’s
Western melodic instincts.
With Tree to Tree, Ashley Maher offers more than an album; she delivers a conversation across borders, a celebration of rhythm and language, and a reminder of how music can connect us all.
https://ashleymaher.com
YouTube Link: https://www.youtube.com/hummingbird5
Mike Freeman ZonaVibe Presents “Circles In A Yellow Room”
Veteran vibraphonist Mike Freeman, together with his latest musical project ZonaVibe, makes waves in the jazz world once again with their latest release: “Circles in a Yellow Room.” Blending swing, blues, and Freeman’s signature Latin-jazz sound, this ten-track album feels both fresh and familiar to enjoyers of his previous works.
What makes Circles in a Yellow Room immediately striking is its clarity of texture. Jim Gailloreto (tenor sax), Guido González (trumpet), Rubén Rodriguez (bass),
Roberto Quintero (congas), and Joel Mateo (drums) have great synergy, knowing when to add layers and when to step back and give the soloist space.
https://mikefreeman.bandcamp.com/album/circles-in-a-yellow-room
The album opens with the light and buoyant “Valentine,” a nearly 7-minute number where each instrument gets its chance to shine, with Freeman’s Vibraphone solo being the standout performance. The follow-up, “Funky chai-cha,” is a more vibrant and playful horn-driven track with a distinct Cuban rhythm being set up by the percussion.
Things switch up yet again when we get to the titular track “Circles” is driven by melodies that seem to go around in circles until the lead passes over to a new instrument. The trumpets and bass clarinet make appearances here, adding to the overall variety of the album.
One of the standouts on this album was “River watch,” an ethereal and soothing journey that captures the often-ignored gentler side of Latin music. The album closes with the more upbeat “The Trek,” which brings back the energy characteristic of the album and gives the setlist a narrative coherence.
Circles in a Yellow Room is proof that restraint can be as powerful as excess. Freeman and ZonaVibe don’t flood the canvas with sound, and let the rhythms do the talking instead. The result is an album that feels timeless, rooted in the Latin-jazz lineage yet distinctly Freeman’s own.
HEAVYMUSIK LLC Presents Bravo Diablo ‘Can’t Control Me’
Indianapolis-based artist Bravo Diablo, also known by his producer alter-ego HEAVYMUSIK LLC, makes a powerful statement with his latest single “Can’t Control Me.” This stripped-down manifesto continues to build on Diablo’s reputation for emotional rawness while also highlighting his unique DIY approach to production.
From the opening lines of the chorus; “u tryna play wit me can’t control me…”, the song establishes an immediate tension between self-determination and vulnerability.
There’s a simmering defiance: “she think she know me / u don’t know me,” signaling the disconnect between perception and identity.
This opening sets the stage for a single that takes you through isolation, emotional fatigue, and the struggle to reclaim your life amid when the world tries to bring you down. Diablo delivers bars on Work, desperation, and sacrifice coupled with the struggle to escape and rebuild with lines like “I’m just a loner tryna get out da city… long as I do it, I’ll never be wishin”.
The minimal accompaniment on this single is incredibly tasteful compared to contemporaries who might favor heavier beats and distortion. The easygoing beat and light keys set the atmosphere perfectly for Diablo’s emotional delivery and make the impact of his words feel just that much heavier.
What stands out is the depth of the lyricism here with the repetition of the chorus; “u tryna play with me can’t control me… I been feeling like my heart dyin slowly,” acting as both a cry for space and a reminder of self-imposed armor against forces of deception or emotional neglect.
The production compliments this artistic decision, as the song still feels gritty, introspective, and unapologetically raw. Yet, there’s also a sense of class to it, and you feel that nothing is ever out of place.
With “Can’t Control Me” Bravo Diablo asserts his autonomy in both life and art while offering listeners a window into the raw vulnerabilities that fuel his journey. The song isn’t polished, but perhaps that’s its power. For supporters of underground authenticity and unfiltered expression, this track hits home.
https://www.instagram.com/heavymusik_llc
Circus Mind Presents “Barstool Hero”
Circus Mind has been teasing their upcoming EP “Barstool Hero” for a while now, and this past week we got to hear the titular track. Starting off with a gentle reggae beat and evolving with elements of rock and psychedelia, Barstool Hero is an incredible single that manages to entertain while also showcasing the band’s capabilities
What’s interesting about this track is its duality. The principal melody makes the song accessible on its surface, but there’s an intricate underbelly hidden for the more discerning listener that is a testament to the band’s musicianship.
Mark Rechler’s powerful roaring vocals begin ramping up the intensity at about the 1:30 mark, but this is just a feint that drops back into easy reggae-psychedelia. The instrumental sections on Barstool Hero are especially impressive, with the impeccable chemistry showing in how the guitars, drums, and keys come together in the shifts from reggae to rock.
Lyrically, the single delivers an incredible story that feels epic, but yet has no clear narrative structure. It complements the musical experimentation and hints at a deeper concept that might be explored in the EP.
But the standout of this track is the closing guitar solo which kicks in as sort of the third movement of the track. Despite being so thematically distinct from the rest, the transition into this section is seamless and you don’t realise what happened until the sonic wall hits you.
Overall, Barstool Hero is a standout single that marries a sly reggae pulse to a cinematic arc. It’s hooky enough for casual spins, but deep enough to reward repeats, serving as an effective prologue to the album.
https://www.circusmindband.com/
The Gravel Project Present ‘Find What You Need’
Boston-based roots-rock collective The Gravel Project returns with their fourth studio record, “Find What You Need.” Released earlier this year, this ten-track collection showcases the band’s signature blend of blues, soul, and rock ‘n’ roll.
While the collection is written entirely by the band’s guitarist-vocalist Andrew Gravel, the synergy of the ensemble really stands out with organist Jordan Gravel, drummer Dave Fox, bassist Jesse Williams, percussionist Eguie Castrillo, and vocalist Jen Kearney all playing their parts to perfection.
https://thegravelproject.bandcamp.com/album/find-what-you-need
“Love the Life” is the perfect opener to the album as it crashes out of the gates with an infectious rhythm, driven by Castrillo’s percussion and Jen and Andrew’s soaring vocals. What’s impressive here is that the band immediately switches things up with “Stay with Me,” a soulful piece driven by gentle synths and husky vocals.
“Who did you think you were” is one of the standout singles with a groovy beat and soulful vocals reminiscent of Marvin Gaye. But what’s more impressive than the musicianship is the emotional range that’s covered in this collection, with the band diving right into the emotional turmoil of relationships and tackling topics like doubt,
regret, and conflict.
What I like about “Blues for LA” is that it breaks free of the mould of the “safe” closer. It continues the pattern of varying styles between singles and employs distortion and dissonance to great effect.
Produced by Grammy-winning producers Greg Ogan and John Paterno, Find What You Need is meant to capture the band’s live energy while still maintaining a level of polish. The minimal overdubs allow listeners to feel as though they are sitting front-row at one of the band’s gigs, but the engineering is good enough that nothing feels out of place.
– https://skopemag.com/2025/08/22/the-gravel-projects-releases-find-what-you-need
Find What You Need is a record that lives up to its title. It offers something for every listener: groove-heavy jams for those who want to move, and introspective ballads for those who want to reflect. With this record, The Gravel Project have captured the essence of their musicianship, and it’s an absolute joy to behold.
https://www.instagram.com/thegravelproject/
https://www.facebook.com/thegravelproject/
Status Foe Present ‘Cheers, Amigo!’
After making waves back in 2022 with “Falling Awake” and suffering through the tragic loss of their bandmate Warren Kost shortly afterwards, Status Foe returns to releasing new music with their latest album, “Cheers, Amigo!”
With a new lineup featuring Harrison Spencer and Chad Prifogle alongside founding members Colby Holmes and Larry Anderson, Status Foe deliver a lean and focused collection of indie rock songs that balance immediacy with reflection.
Across ten tracks, the band showcase their ability to craft tight hooks, thoughtful lyrics, and guitar work that feels both polished and heartfelt. The album is dedicated to Warren Kost, lending an emotional weight to the songs that permeates the record beyond its catchiness.
The album opens with “All That We Own,” a brisk track that screams desperation and immediately sets the tone with instrumentation that keeps on intensifying from beginning to end. This is immediately followed by “Clearing in the Fog,” a more melodic and introspective single driven by mellow guitar tunes.
One of the album’s most striking moments comes with “Finding What It Is You Seek,” an infectious pop-rock single with an infectious chorus that gets in your head and refuses to leave. Built around layered guitar textures and some delightful solos at the end, this single is a perfect example of anthemic ambition.
Closing track “Tail’s Ripped Up” come full circle and delivers the opposite of the first track with its sparse, uncomplicated lyrics and runtime exceeding five minutes.
Equal parts raw and reflective, this track’s driving energy and lingering sense of resolution ties up the album perfectly.
Musically, the record is driven by guitars that alternate between jangly rhythms and crunchy riffs. Holmes’ vocals sit confidently at the center, supported by a rhythm section that favors groove and pocket over flash. The production is clean and direct, allowing the interplay of melody and message to take priority.
Cheers, Amigo! isn’t an album that tries to reinvent indie rock. Instead, it excels at what it sets out to do: deliver sharp, melodic, emotionally grounded songs that stick. It’s an album made for listeners who appreciate straightforward songwriting with enough nuance to reward repeat listens.
https://statusfoe.co
https://linktr.ee/statusfoemusic
Antonia Bennett Presents ‘Expressions’
A lot of us know Antonia Bennett as the daughter of jazz legend, the late Tony Bennett, but with her new album “Expressions,” Antonia continues to carve out a path that is distinctly her own while nodding to the illustrious legacy of her father.
Released in June 2025, this record feels at once personal and polished, weaving together jazz standards, American Songbook classics, and original material in a way
that reflects her musical journey.
The album opens with a light, playful, and personal ode to lost love in the form of “Do You Still Think of Me.” The theme of romance is consistent throughout the beginning of the album with Antonia delivering beautiful renditions of jazz standards like “Exactly Like You” and “Once I Loved.”
Much of the album’s charm lies in its intimacy. Bennett’s voice has a warmth that draws the listener close, and Christian Jacob’s elegant piano arrangements create a candlelit atmosphere that exudes class. With established names like Kevin Axt on bass, Kendell Kay on drums, and Larry Koonse on guitar the album finds its footing
in both tradition and reinvention.
https://hypeddit.com/antoniabennett/expressions
The track list itself is a study in balance. Familiar standards like “Vous Qui Passez Sans Me Voir” and “Right on Time” are delivered with an affectionate ease that sounds playful and unforced. The effortlessness with which Antonia delivers her interpretations is truly impressive and a testament to her talent as a vocalist.
Expressions is not a record that chases trends, but is driven by natural artistic inspiration. The production feels unhurried, unforced, and natural. Each performance reveals Antonia’s ability to find emotional resonance in understatement, inviting listeners to lean in rather than be dazzled by vocal acrobatics.
With Expressions, Antonia Bennett demonstrates not only her ease with the Great American Songbook, but also her readiness to expand its borders, bringing in contemporary elements without ever compromising on elegance. It is the work of a singer who knows where she comes from, but more importantly, knows exactly where she wants to go.
https://www.antoniabennett.com
https://www.symphonicms.com/album/view/id/2009e06130402fa5434edee9af123582
https://linktr.ee/antoniabennett
Pat Petrillo Presents ‘Contemporaneous’
Vetera drummer Pat Petrillo takes you on a genre-bending journey through groove itself with his new album: “Contemporaneous.” Released in July 2025 via Innervision Records, this album is less a collection of songs than a musical project that slides seamlessly between jazz, funk, blues, and even touches of world music.
With an all-star lineup featuring Scott Ambush, Blake Aaron, Matt Rohde, Mike Cordone, Lemar Guillary, Scott Mayo and Phillip Wack, Petrillo has surrounded himself with players who can keep up with his restless imagination.
https://open.spotify.com/embed/album/6rMFLsglqVysxjzZ7YSZwi
The record wastes no time setting the tone. “Fused” bursts out of the gate with the kind of high-energy jazz-rock fire that cements Petrillo’s reputation as a drummer of both precision and power.
https://sym.ffm.to/patcontemporaneous
While Petrillo’s groove is relentless throughout the album, what keeps Contemporaneous from tipping into monotony is its stylistic variety within that groove-centered frame. “On the Regular” is a cheekily misleading title with its unpredictability and irregular instrumentation. Similarly, “Late Night Diner” stands out, evoking smoky after-hours vibes with glowing horn arrangements.
The production on this track is as smart as its composition, maintaining enough polish to sound professional, but never going far enough to feel artificial. There’s a sense of spontaneity in the music that makes it all the more appealing to listeners
Petrillo isn’t shy about his intentions as Contemporaneous clearly emerges as a genre-defying musical montage. It’s a record that resists easy categorization, much like Petrillo himself; a drummer who can lock a stadium groove one minute and improvise with jazz subtlety the next.
By the time the closing notes fade, you have nothing but admiration for Petrillo’s musicianship. Contemporaneous is bold, unapologetic, and brimming with life. For listeners ready to embrace a heady mix of funk, jazz, and soul, this is one of the most engaging fusion records of the year.
https://www.innervisionrecords.com
Rick Shaffer Presents New Album ‘Rites & Stories’
Starting out in the trenches of rock and roll nearly three decades ago, Rick Shaffer has been grinding away with no signs of slowing down or softening his edges. Kicking off his solo career in 2010, Rick Shaffer has made a name for himself with his gritty, uncompromising sound, and continues to build on that legacy with “Rites & Stories,” his latest release.
This album arrives as a testament to an artist whose solo career is now thirteen albums deep, but still refuses polish in favor of raw, ritualistic intensity.
LINER NOTES: https://tarockmusic.com/2025-rites-stories-liner-notes/
The title of the album itself reveals Shaffer’s maturity as a musician. Initially beguiling, it later becomes clear that the “Rites” are the fragmented instrumental sections and trance-inducing rhythms, while the “Stories” come through in the form of narratives: songs about temptation, regret, and redemption. Together, they create an atmosphere that is as unsettling as it is immersive.
“Standing in the Shadow” and “True Religion” are incredible openers, creating a dark and dissonant sonic landscape that immediately sets the tone for what is to come. This is not music for casual listeners; it’s meant to challenge, disrupt, and question the audience.
“Pleasure” stands out as an intriguing centerpiece, as it settles into a more melodic groove with eerie guitar riffs. Shaffer’s raspy vocals cut through the accompaniment, with lyrical depth that questions how meaningful our pursuit of pleasure is. The song embodies the album’s central tension: indulgence laced with regret; beauty tangled with danger.
Shaffer’s production choices lean toward a more raw and unpolished sound. It’s not radio-friendly, but provides a more authentic experience to the serious listener.
This is a philosophy Shaffer’s carried from his earliest days with The Reds into his current Berlin-inspired phase, where echoes of Bowie and Iggy Pop resonate.
As the album comes to a close, it simultaneously slows down its tempo while ramping up the intensity. Tracks like “Slow Days” and “Cry for Justice” feature more
aggressive, even violent, guitar sections that reveal the experimental edge of Shaffer’s musicianship.
For listeners who crave rock that feels dangerous and unafraid to dwell in the shadows, Rites & Stories is a powerful offering. It’s an invocation of sound from a seasoned musician still pushing himself, and his audience, into deeper, darker territory.
https://tarockmusic.com/rick-shaffer/
Los Angeles Improvisation Ensemble Present “Insubordinate Lunar Transgressions”
The Los Angeles Improvisation Ensemble shatters norms and transcends genres with their debut album: “Insubordinate Lunar Transgressions.” This collection is less a conventional album than a daring experiment in sound and collective intuition.
Released on Denouement Records, this release brings together four virtuosic players: Robert Hardt on woodwinds, Louis Stewart on piano, Andrew Shulman on cello, and Michael Valerio on bass. for a series of spontaneous creations that defy easy categorization.
– https://www.amazon.com/Angeles-Improvisation-Ensemble-Insubordinate-Transgressions/dp/B0F8PPW2HY
There are no charts, no arrangements, and no creative directors to constrain the group; what unfolds across these 13 tracks is pure improvisation, a vivid dialogue that slips effortlessly between jazz, classical, avant-garde, and even world music idioms.
What makes the record so arresting is the way these musicians channel freedom into cohesion. Despite the absence of structure, their interplay never feels chaotic. Instead, there’s a remarkable unity in how they listen and respond to one another, weaving lines that often sound composed in the moment.
The range of themes covered here is so wide that you’ve got to listen to it to understand just how broad the subject matter is. Pieces like “Sergei’s Diabolical Circus” and “Igor’s Infernal Rite to Sacrificial Square Dancing” take inspiration from classical music, paying homage to the pioneers of dissonance; Stravinsky and Prokofiev.
https://www.last.fm/music/Los+Angeles+Improvisation+Ensemble/Insubordinate+Lunar+Transgressions
Similar influences are apparent throughout the album, with pieces hinting at the works of Mingus and Copland. Even the titular track appears to be inspired by Schoenberg. But don’t tie these nods to the great with a lack of originality, as there’s no shortage of innovation on the lighthearted pieces like “Solar Voyage” and “When Johnny Comes Running Home”
The result is a body of work that’s at once unpredictable and deeply satisfying, filled with textures that are rich, elastic, and consistently engaging. The sequencing keeps the listener off guard but never alienated, moving seamlessly from humor to intensity, from airy chamber-like passages to dense collisions of sound.
Overall, Insubordinate Lunar Transgressions is an incredibly rewarding album, with fresh discoveries at every turn. For those willing to surrender to its unpredictability, it offers a transportive experience: sometimes whimsical, sometimes dissonant, but always alive.
Leirbag X.O. Presents “Immersive ElectroShock”
With his debut album “Annihilation of Darkness,” Leirbag X.O. carved out a reputation as a rising star in the experimental electronica space. His new single, “Immersive ElectroShock,” ventures into newer territory, evolving into a lighter sound while still maintaining his pursuit of crafting beats of universal appeal.
Known for threading together atmospheric textures with sharp rhythmic interplay, the Paris-based producer once again takes listeners on a hypnotic and jarring rollercoaster ride. What stands out here is the conservative use of bass and distortion, leading to an almost confusing sound. Is this meant for the dance floor in the club, or is it geared towards lonely late-night drives? It’s up to the listener to decide.
From the very first pulse, the track feels like a sensory initiation. Dense layers of ambience ebb and swell, gradually punctured by surges of electronic energy that live up to the “electroshock” in the title. Much like his earlier work like “Earth Paradise Hell,” the piece resists the trappings of conventional structure.
Given who the artist is, there’s almost no need to critique the production quality on this track. Leirbag X.O.’s approach is characterized by his sense of narrative through sound, and every element is placed with a surgeon’s precision. The result is music that feels alive, constantly shifting, and entirely immersive.
There’s also an unmistakable emotional undercurrent here. Leirbag’s past collaborations, such as “Texas/Paris/Arkansas”, showcased his lyrical introspection, but on “Immersive ElectroShock”, he trades in words for sonic storytelling. It’s a simple invitation to lose oneself in the interplay of sound, light, and electricity.
“Immersive ElectroShock” is not background music. It demands attention, pulling you into its world and refusing to let go until the final note fades. This track not only cements Leirbag X.O. ‘s reputation as a fearless sonic architect, but also gives us high hopes for the broader vision of his upcoming album; The Awakening of Light.
– https://www.instagram.com/gabcn78
– https://hyperfollow.com/beatsleirbagxo
Bonnie J Jensen Presents “RISE”
Veteran jazz vocalist Bonnie J Jensen makes a long-overdue comeback with “RISE”, her fifth solo album and her first since 2010’s “Shimmer.” Consisting of some classic jazz standards mixed in with reinterpretations of music from other genres, RISE is the work of a jazz vocalist entirely at ease with her craft, yet eager to stretch her artistry in new directions.
The album’s repertoire is as eclectic as it is cohesive, as Jensen kicks things off by bringing some swing and breathing life into The Styllistics’ 1971 soul hit “People make the world go round.” She moves fluidly between intriguing reinterpretations and paying homage to great modern jazz composers with her takes on Herbie Hancock’s “Butterfly” and “Cantaloupe Island.”
Even among the jazz standards, Jensen keeps things fresh by blending in unique singles like Chick Corea’s “Spain,” which serves as an epic centerpiece. With a runtime exceeding seven minutes, this is a great track to showcase her lyrical agility and musicianship.
One of the highlights on this album is Jensen’s smooth jazz cover of Sting’s “la belle dame sans regrets.” Her soft vocals add a level of depth and dimension that transcends the original, while the sax solos are a tasteful addition that elevate the atmosphere.
The album closes out with an incredible rendition of James Taylor’s “Don’t let me be lonely tonight.” matching the emotional impact of the original is a tough ask, but Jensen proves she’s up to the task with a powerful performance that brings tears to your eyes.
In these twelve tracks, Jensen draws on a handpicked roster of Australia’s finest jazz musicians; Matt McMahon on piano, Geoff Hughes on guitar, Ray Cassar on trumpet, Graham Jesse on saxophone and flute, Brett Hirst on bass, and Nicholas McBride on drums. Together, they craft a record of remarkable polish, depth, and variety.
Jensen produces this album herself, and it’s clear she knows exactly how to frame her instrument. The ensemble shifts from dining-room intimacy to full big-band punch without losing the album’s through-line of elegance. There’s an unhurried confidence in the way the record unfolds, with the musicians giving each song the space it needs.
“RISE” is a record steeped in tradition yet unafraid to take detours. It’s a collection that rewards close listening as much as it works as a late-night companion. In her return to the studio, Bonnie J Jensen hasn’t just picked up where she left off. She’s delivered one of her most accomplished statements to date.
Ray Barnard with ‘And The Horse You Rode In On’
Get ready for an all-out, jam session courtesy of Ray Barnard and his new release ‘And The Horse You Rode In On’. With so many awesome elements from roots-rock & reggae to soul & r&b, Ray Barnard will not disappoint! ‘And The Horse You Rode In On’ includes 10 lively tracks that will stir up your senses!
This is Ray’s fifth solo album and he also wrote, arranged and produced the record. The album also features a terrific rhythm section and they are Jeremy Johnson, Blair Krivanek, Nick Salisbury, and Greg Schutte. ‘And The Horse You Rode In On’ is one heck of a ride that you will want to play over and over again!
Right out of the gates, Ray is hitting you with some super cool vibes where it’s all about “Scufflin’” baby! Next, the audience is chillin’ out to one smooth operator on “What’s In A Picture”. Get ready for a sweet reggae beat and feel-good sensation on “Home In Your Heart” where one and ALL is welcome. Track four, “Said I Wouldn’t Do It”, flows like fine red wine on a hot, sunny summer day where a colorful rhythm rushes over you. Enjoy a fan-friendly instrumental on “Pistol Pete” and then wrap your ears around an infectious groove on “Gone Again”. Ray is moving mountains musically on “Closer To God” where the listener will pick up on a spiritual sense. Track eight, “LA Hangover”, is buzzing with chill notes and calming chords that comes across as groovetastic. Ray delivers fun & interesting dynamics on “Will 2 B Wild” and then it’s a GO for “Greenlight” where positive energy surrounds you.
Ray Barnard has music running through his veins and he’s been proving this for many years. Before going solo, Ray led the roots-rock group The Copperheads for 12 years. The group released three albums and was known for mixing Country and R&B. The Copperheads also played high profile shows with Junior Brown, Chris Scruggs, Rosie Flores, the Iguanas, Randy Weeks, Charlie Robison, Shooter Jennings, Ty Herndon, Jack Ingram and the Oak Ridge Boys. Barnard also played sideman for Frederick Thomas & Natural Selection, along with Minneapolis-Saint Paul acts such as In2ition, Bill Geezy, Molly Maher, Paul Bergen, the Dan Lowinger 4, Becky Kapell & the Fat Six, and Erik Koskinen. The creative juices are still flowing better than ever for Ray with this new release sounding like a sure-fire Hit! Be sure to roll along with Ray Barnard and ‘And The Horse You Rode In On’ because it’s an experience you won’t soon forget!
By Jimmy Rae
Jennifer Hill Drops ‘Love Bomb’
One thing you will notice right off the bat on this new release is the show-stopping voice supplied by Jennifer Hill. Jennifer sings with so much passion and you feel every single note on ‘Love Bomb’. Jennifer Hill bears her soul for all to hear on this 10-track album and she does not hold back at all.
Jennifer has been compared to the likes of Amy Winehouse, Tori Amos, Fiona Apple and Lady Gaga but her style is 100% authentic. Jennifer’s voice is so pure, clean and polished and so it’s no surprise to discover that she has been singing since she is a little girl. Covering a gamut of emotions while even giving the audience a little burlesque atmosphere at times, Jennifer Hill is on fire with ‘Love Bomb’.
The album features many talented musicians and they are horn player Bill Holloman (Chic, Gatlin Bros., Bruce Springsteen),guitarist Tim Palmieri(Lotus, Kung Fu, Karl Denson), guitarist June Millington(Fanny, Wild Honey, The Svelts), multi-instrumentalist Bob Schwecherl(Few Cents Short, Grandpa’s Grass), bassist Bobo Lavorgna(Aztec Two-Step, Batu), cellist Jeffrey Chen(Cargo Cult Revival, Ernest Hem ‘n’ Haw), and backing vocalist Stout (Alicia Keys, Santana, John Mayer).The record is produced by legendary producer Vic Steffens, who has worked with artists like Rolling Stones, Harry Connick, Jr., and Bobby Brown to name a few. Together, Jennifer Hill & company create and capture so many memorable moments on ‘Love Bomb’ that audiences everywhere will be enthralled with.
As soon as you hit play, the listener will hear a striking voice from Jennifer Hill on “Gemma Star” and she has quite the presence. With pristine vocals and a very appealing sound, Jennifer is off to an impressive start with “Gemma Star”! Get ready to take a bite out of “Made of Candy” next where Jennifer displays her showy side and appears to be quite theatrical on this number. Track three, “This Plane”, offers an emotional touch and one strong vocal delivery. “This Plane” is taking off and will have you contemplating life with lines like “Better move fast or you’ll lose it all”. Prepare for a playful melody and inviting tone on “Baby Child” where you will be instantly attracted to this song. Moving along, we hear “Erased” that includes touching material to go along with piercing vocals that have a hauntingly beautiful texture. Track six, “Can’t Say”, is powerful and grabs you immediately with its gripping sound. Jennifer Hill proves to be a star-studded singer and storyteller on “Can’t Say”. Heading into the next song, “Waiting” will leave you speechless with its masterful direction and then Jennifer is laying it all out on the table on “Civilized”. Track nine, “Hearts”, packs a punch and has a direct impact on the audience thanks to Jennifer’s sincere delivery. There’s a pleasant surprise on “Hearts” too where a cool rap session can be heard during the song. Jennifer Hill is standing tall by the end on “You’ll See” with a very strong performance as she leaves a lasting impression on listeners everywhere.
What I respect about Jennifer Hill is that she is not afraid to be vulnerable as an artist and she is so genuine. With a voice that is smooth as butter to go along with top-notch musical arrangements, Jennifer will certainly gain new fans with her latest release. She knows when to get serious and when to let loose and have a lil fun making ‘Love Bomb’ a must listen!
https://www.jenniferhillmusic.com/
By Jimmy Rae
Jeff Summa and the Roasters with ‘Who’s Got My Lighter’
Prepare to take quite a trip musically as Jeff Summa and the Roasters dare to ask ‘Who’s Got My Lighter’. Jeff Summa and the Roasters is cookin’ up some tasty grooves and rhythms that will get your ears buzzin’. With elements of rock, blues, jazz, funk, psychedelia and everything else under the sun, ‘Who’s Got My Lighter’ provides quite the listening experience!
Hailing from Litchfield, Connecticut, Jeff Summa and the Roasters have an infectious energy when performing as a band. Audiences everywhere will immediately gravitate toward this fan-friendly sound that is overly inviting. ‘Who’s Got My Lighter’ is witty and inventive and honestly just a hell of a good time from start to finish!
The record kicks off with the title track, “Who’s Got My Lighter” and right away a big, bright sound punches you in the ears. Jeff Summa and the Roasters are on fire musically as “Who’s Got My Lighter” is a fun-filled jam that really POPS! “Who’s Got My Lighter” may be simple subject matter but highly effective when you hear the entire song play out. Next, an enticing groove hits you with crazy material that will seriously have you pondering “Iguanas”. Enter into “Non Reality” where the vocals and lyrics will instantly grab you to go along with a slow ‘n’ steady pace that feels so right. Jeff Summa showcases a funny play on words on “Funk All Night” where the lines will make you laugh and fully satisfy your musical palette. It’s now time for a nice, “Simple Song” that is so relaxing to hear and easy-listening all the way! Track six, “Loss Cat, offers up some fine playing and is purring with excitement! The next stop is “That Ship Has Ssiled” and this is one smooth ride without any bumps or turbulence. Heading into the next song, “So Far Away” will have a deep connection to many listeners due to its inviting melody and welcoming vibe. Track nine, “Everybody Knows”, really moves and just gets you in a good mood from the start. Jeff Summa and the Roasters end on a very different note with “High Mage” that is not so peppy or cheery but definitely rich in content.
The chillax atmosphere surrounds this entire album as Jeff Summa and the Roasters set that tone right out of the gates. Jeff sums this up nicely here, “the songs on ‘Who’s Got My Lighter’ are individual stories inspired by just about anything except sitting down to “write”. Books, music, surfing or driving—they can all lead to song ideas for me.”
https://jeffsummaandtheroasters.com/
By Jimmy Rae
Marius Billgobenson Presents “IN PARADISE – Just Another Day”
Stockholm-based ethnomusicologist and singer-songwriter Marius Billgobenson delivers a warm and uplifting jazz anthem with latest single, “In Paradise – Just Another Day.” Released earlier in August, this track blends African rhythms with jazz, soul, and R&B to create a polished yet heartfelt single that washes over you with its charm.
The great thing about Billgobenson’s music is that he never forgets his roots, and his journey is reflected in his works. This track is no exception, and the vibrant traditions of Congolese storytelling are carried forward using jazz as a vessel.
The core message of the song; “it’s gonna be alright, just another day in paradise,” is delightfully touching and simple. Each verse builds up life’s challenges but concludes in a reassurance that “it’s always dark before the light, and you’re just learning how to fight.” Optimistic and reassuring, this is an exemplary use of smooth jazz as a genre.
It’s not often that a producer gets a feature on a track, but Marius’ decision to mention Paul Brown is fully justified as his work on this track is just exquisite. Every element feels meticulously placed without the track ever losing its organic warmth. The instrumentation on In Paradise is beautiful, but it never overwhelms Marius’ vocals, which are the true highlight.
This single also features a star-studded ensemble, with Tony Braunagel’s drumming setting a steady, unhurried groove while David Garfield’s keys weave gentle shimmering harmonies. Shane Theriot’s guitar work adds tasteful, melodic touches and Freddie Washington’s bass glues it all together with understated finesse.
Musically, the track is a perfect example of restraint, as every musician is fully capable of flashy and complicated performances. But instead, the musicianship speaks through subtlety and feel.
Billgobenson is an artist who has clearly lived a rich life and absorbed influences from across the globe, yet his music never feels distant or abstract. In Paradise is both a celebration and a gentle reminder: the hardships of life may distract us, but it doesn’t change the fact that our world is a beautiful paradise.
