MODERN COUNTRY ROUND-UP

Here’s the thing - country music has the unique standing with me as being the genre that has the most defined subsets of what I LOVE and what I absolutely HATE. Give me the groundbreaking twang of artists like Hank Williams, Buck Owens, Dolly Parton or George Jones (or their modern counterparts like Dwight Yoakam, Lyle Lovett, The Mavericks, etc.) and I’m happy to listen - but when I hear modern country that feels overly polished with a pop sheen or immersed in pandering beach-vibe, Jimmy Buffet cliches, I just can’t abide.

Perhaps the defining line is that the particular elements have to line-up in a very specific way. Southern Rock (Lynyrd Skynyrd, Allman Brothers, Marshall Tucker Band) never did anything for me - but I’ve always been a big fan of alt-country acts (Lone Justice, Uncle Tupelo, Whiskeytown, The Jayhawks, Old ‘97s). Go figure.

The bottomline is that - other than revisiting my familiar favorites - I have done a piss-poor job of keeping up with the genre in recent years and I figured if correcting that meant I might be taken down, well - what’s the saying? Misery loves company? 
What I’ll be exploring (and you are invited to also checkout) are 10 modern-ish albums (released since 2020) that have been recommended to me by folks I trust who keep up with this scene much more closely. Meaning - though I can’t guarantee that this won’t be a hard pill to swallow, for any of us - I feel confident that none of these selections will land in the ‘dreaded’ column of the country strain that sucks joy from me. We shall see.

I do think we too-often compartmentalize 'country music' to its most basic cliches.  To my ears - even going several years back the last time I did this sort of 'catch-up' listening - it is clear many of those walls have fallen.

A guy like Jason Isbell (the first album on my below list) growing up in the south in the 90s would certainly have been as exposed to rock/college radio as the country traditions he picked up from his family. In fact, his run in Drive-By Truckers speaks to that as those guys had WAY more in common with Uncle Tupelo (which originally featured Jeff Tweedy before he formed alternative darlings Wilco) and aspects of 80s alternative champions The Replacements, than any traditional country artist.

Look at it this way - major alternative bands like Wilco, Decemberists, Avett Brothers, etc. have songs that are straight-up country numbers (both in style and instrumentation) and then on the other side you have 'country' artists who fold-in so much pop and southern rock touches (Zac Brown Band, Eric Church, etc) that they can (and do) exist comfortably on pop stations.

Not to mention full on pop and rap artists that have benefited (hugely) from the commercial power of country (Beyonce, Jellyroll, Lil' Nas, Darius Rucker, etc.).

Now - I am aware of extremely popular modern country artists that have stayed pretty much in the expected cliche lane - Jason Aldean, Luke Bryan, Blake Shelton, etc. - but I felt those might be a bit one-note and not do anything more than confirm stereotypes.

The only other perimeter I set for selecting these albums is that (though I had heard of each of these artists) they had to be albums I haven’t listened to at all.  
Giddy up, buckaroos!!!

Jason Isbell & The 400 Unit  /  Weathervanes

Released: June 2023
Produced: Jason Isbell
All songs written by Jason Isbell

What a great album. I’m not at all surprised as I don’t recall disliking anything of Isbell’s that I have listened to previously, but it is really satisfying to hear what a solid songwriter and bandleader he has become. Granted, at 45, the guy isn’t a kid, but this feels like a rock-solid collection of story-songs - standing heads & shoulders with stalwarts like Springsteen (“Death Wish”), Mellencamp (“When We Were Close”), Lyle Lovett (“Strawberry Woman”), & Petty (“Miles”) - while also perfectly hitting Americana strides in very comfortable ways.

We could probably argue all day about what makes a collection like this get classified as Americana instead of ‘pure’ country, but to me, when music is as elevated as this album clearly is, it just doesn’t matter all that much. Top-shelf quality is top-shelf quality any way you label it. To confirm what I suspected, I looked up a point-blank definition of Americana music and it comes down to being a melting pot - ‘rich threads of country, bluegrass, gospel, soul, blues & rock creating a tapestry’. Bingo!

First things first - even experiencing this album the first few times, it felt immediately familiar and comfortable to me. Shades of Jackson Browne and The BoDeans really jumped to the front of my mind. 

What is completely apparent is the quality craftsmanship found throughout. This starts immediately with the songs. No matter how many times I listened to the album, I regularly found myself picking a different song as ‘my favorite’ as so many of them present themselves in such impressive ways. There is a care to the songwriting that displays a deep respect for masters like Springsteen, Neil Young & Dylan. That is - though it played very satisfactorily even if I wasn’t giving it my full attention, this is a collection of songs that definitely deserves greater attention - and returns with deeper appreciation. 

The arrangements and focused instrument choices seem a product of best serving the individual songs much more than locking in a particular expected sound. There are certainly several numbers (perhaps “If You Insist” & “Cast Iron Skillet”, & “Vestavia Hills”) that more succinctly fit into standard country stylings, but those don’t feel forced at all - it just turns out that those provide perfect housing for those songs. Likewise, a violin here or accordion there always seemed to compliment - never distracting with overly traditional country music trappings.

You could argue that the album’s length was a slight negative, and I guess it’s fair - considering that several of the numbers walk a similar feel - but I don’t think, ultimately, I could pick out any single song that feels like wasted space.

CONCLUSION: I thoroughly enjoyed pretty much every aspect of this album. I had a fairly good feeling coming in as I was aware of some of his earlier work, but the high level of connection with these songs will absolutely drive me to make up for lost time in checking out more recent releases that slipped by me. This gets a big Thumbs Up and a Grade of a confident A-.

Chris Stapleton / Higher

Released: November 2023

Produced: Dave Cobb & Chris Stapleton

Stapleton wrote (or co-wrote) all of the songs.

Chalk that up as the second album that doesn’t sound all that country. At least not overtly so.

I swear, less than a minute into “What Am I Gonna Do?” I could have been convinced that I was listening to the American modern-soul of Nathaniel Rateliff and the Nightsweats. This comparison/similarity returned several times throughout the collection.

This wasn’t a negative as I am, generally speaking, a fan of that sound. But what I can offer is that it struck me as a bit more formulated than usually best serves that style of music.

I like Stapleton’s voice and the entire collection has above average production and arrangement attributes, but it hit me (both the first time through and with repeated listens) as a tad paint-by-numbers in the overall experience. For instance, the album single “White Horse” felt extremely predictable and flatline to me. I don’t mean that in an overly picky or music snob way - but I just have a personal preference for this sort of music to be a bit more rough around the edges as well as containing a healthy dose of edginess in the delivery - all things that seem to fall short throughout.

Stapleton’s accolades as a songwriter and performer are certainly apparent - that is, there is no denying his place in modern country. There were plenty of specific moments that definitely caught my attention. I dug (mostly) the head-down groove of “South Dakota” & “Trust” hit me particularly well - very much reminding me of the great in-pocket way Mellencamp can hit with a more intimately reflective stance. I also appreciated the back-to-back 70s vibes oozing from “Think I’m In Love With You” & “Loving You On My Mind”.

I guess the most concrete criticism I can offer is that by the time I reached the end of the collection (even though the album was capped by a fine acoustic ballad, “Mountains of My Mind”), much of it seemed to blur in fairly indistinguishable ways. In contrast to the Isbell album - which made a deeper impact after my repeated listens - this one kind of melded together. The collection was OK company while it played out, but didn’t necessarily leave much to recall. The second-half run from “White Horse” to “Weight Of Your World” felt noticeably guilty of this ‘sameness blur’. In fact, I'd say that the album seemed to lose a little more power each time I listened to it.

CONCLUSION: The first full listen was definitely the best. Repeated listens didn’t return the same initial charge and, worse, they actually slowed down the desire to return again. Plenty of talent found throughout - on multiple fronts - but at the end of the day, just not my kind of thing. Slight Thumbs Down and a Grade of C-.

Lainey Wilson / Bell Bottom Soul

Released: October 2022

Produced: Jay Joyce

Wilson co-wrote all but one song.

So here’s that ‘mainstream country’ album I came in expecting. Songs about drinking, driving trucks, being a redneck? Check, check, check. Hell, the girl even has a Jesus song. Talk about presenting as a reliably open book.

Add to that, Wilson’s deep southern drawl makes sure you wouldn’t miss her upbringing even if she were singing Wagner. But put that voice (& spirit) in the confines of well-written, easy to digest pop songs augmented with all the normal country music instrumental trappings and you have a recipe that is sure to find an audience.

The fact that Wilson calls Dolly Parton a huge influence makes perfect sense. Take away the modern lean of the subject matter and more polished pop production touches, and you are very certainly left with the skeleton foundation of Dolly’s best early-career music. Independent, strong identity, let-nothing-stop-you gumption - these are Dolly’s calling cards and Wilson wears them well. More importantly, she comes across as earnest and authentic. And though she presents as country through-and-through, I kind of dig the healthy touch of hippy-girl aloofness.

As far as the album itself, what I’ll say - from my perspective - is that it is what it is. At 16 tracks and almost an hour long, I probably could’ve done with a little less. Much like Stapleton’s album, I found the second half of the collection far less engaging - and also suffering from ‘haven’t I already heard this?’ syndrome. The exception being the 4 Non Blondes cover - which Wilson does an admirable job of making her own. I actually prefer Wilson’s version.

I feel a tad unqualified to dig in much further - the production sounds great, the musicians are obviously pros, & I even got used to Wilson’s voice quite easily (& quickly). There are some songs that grab me a bit more than others, but they all favorably seem to swim in a cohesive and reliable stream.

CONCLUSION: Other than the fact that this just isn’t the type of album I’d normally listen to - and given the fact that I probably won’t return - it will probably be surprising that I’m still going to give it a Thumbs Up and a Grade of C. I definitely enjoyed some parts of it and appreciated Wilson’s spirit as true-to-herself enough to pull me in - at least for the duration of each time spent listening.

Brent Cobb / Southern Star

Released: September 2023
Produced: Brent Cobb

This album went down super easily. For the majority of my time listening I was transported to a more folky, laid-back 70s vibe. Throughout, Cobb seemed laser-focused on creating a vibe and less concerned about mainstream commercial appeal. This was appreciated - especially in his capable hands.

The songs cruise in on the same sort of wavelengths that makes the music of Jim Croce, Gordon Lightfoot, Dan Folgelberg, & early James Taylor so attractive - especially in the right mood. Mood is key with this collection.

Sure, Cobb shows his Georgia upbringing in his accent, smooth-as-molasses vocal delivery, & touches of traditional country instrumentation, but it is never for show - never to ‘sell’ to a country audience.

What Cobbs achieves - in authentic and engaging ways - is a throwback album, much more naturally tapping into the 70s feel that both Stapleton and Lainey’s albums seemed to reach for at times (either in sound or style). 

If I was feeling extra picky I could make a case that while the vibe & intent are spot-on, there isn’t necessarily a ‘new’ take on that familiar sound. In other words, as much as I enjoyed the album, I still would rather listen to the music of the folks that it reminded me of. But this isn’t really a criticism. And it isn’t to say that Cobb doesn’t bring some of his own mojo to the proceedings. He most certainly does.

CONCLUSION: Even though Cobb has clearly recycled the winning sounds that made mellow folksy/country-tinged pop of the 70s so appealing, he does so with complete earnest intentions and I was easily pulled in and enjoyed each listen I gave the collection - with deeper familiarity only adding to the attraction. This hybrid singer/songwriter collection caught me at the right time (it definitely is a stronger album when taken-in with the right mindset/mood) and I’ll be sure to circle back on some of Cobb’s earlier albums. Easy Thumbs Up and a Grade of a solid B.

Luke Combs / Fathers & Sons

Released: June 2024
Produced: Luke Combs & Jonathan Singleton
Combs co-wrote all but 3 tracks on the album.

Look, I’m as sentimental as the next person. I admittedly cry easily if a movie or song touches me just a certain way. Hell, I have been known to cry at just the right TV commercial. But my emotional triggers have their limits. Even the most obvious tricks have to have a slight whiff of earnestness to get to me.

Yes, I get that by naming the album Fathers & Sons Combs had a bullseye target in mind. And who am I to say there isn’t a country audience for an entire collection of overly predictable ‘family’ songs? To my ears, one listen was all I needed. Truth be told, I would have easily understood all I needed to know by simply listening through the first chorus of each song.

Bouncing back & forth, pretty evenly, as a tribute to his father and his own children, the songs lay out (in extremely black & white terms) the life lessons of taking time to treasure the important (often small) things and simple tales of reflecting on the full circle of life - traveling the twisted road from being a son to becoming a dad. The absolute flatline of mid-tempo cadence didn’t help as it really came to feel by the end of the (mercifully compact) 40-minutes that I could have been listening to the same song over and over.

Granted, I’m not a mid-30s, raised southern-rural country boy with a really terrible chin beard, but I found the lyrical inclusions of ‘being country’ just all too much. Like there was a laundry list of phrases and ‘y’all can relate, right?’ flourishes in the story-telling that had to be used. That said, who am I to say that Combs didn’t mean every word sung and sappy cliche employed? I’m clearly not the ideal target for this particular batch of southern-life, country-boy Hallmark musings. The album went to the top of the country charts - both in the US and UK (I guess England has their own sort of country boy too!) - so more power to Combs.

The best compliment I can offer - and this is absolutely a concrete fact in listening to all of these albums thus far - is that it sounds great. The top-tier band backing Combs, including the incredible Sam Bush on mandolin, is pitch-perfect throughout and the production hits all the marks. And though it has nothing to do with this album, my hat is off to the dude helping Tracy Chapman back into the limelight. 

CONCLUSION: Call me a cynical son-of-a-bitch, but this album fell WAY wide of landing even a single tug on my heartstrings. Songs for effect and not much else is what I found each time I gave this collection an honest listen. Thumbs Down and a Grade of D.

Carly Pearce / Hummingbird

Released: June 2024
Produced: Shane McAnally & Carly Pearce
All of the songs are co-written by Pearce.

Given my elementary knowledge of modern country, I guess I’d consider this a 'new take on classic country' affair. It sort of reminded me of a female read on those late-80s Randy Travis albums (which I actually liked quite a bit. In fact, I actually saw him in concert around then). That is, traditional acoustic country instrumentation & arrangements backing a strong vocalist relaying on the charms of solid songs to do the trick. Spoiler alert: It works throughout this album.

There was much - in way of general feel - on this album that also reminded me of a brilliant Sara Evans 2020 single - “I Learned That From You” - classy, well-constructed country music. This isn’t to say that there are tons of invention to be found.  Well-worn approaches definitely win the day. But in a case like this, why fix what isn’t broken?

The first two tracks (“Country Music Made Me Do It” and “Truck On Fire”) seem to land in the territory aimed at drawing the most commercial appeal, but to my ears it is the majority of the rest of the album that scores the most points.

“Still Blue” & “Heads Over Heels” charms with their up-tempo musicality and simple, but engaging lyrical storylines. Best of all, these feel like country songs without any unnecessary pop trappings. The purity of the proceedings works.
Pearce returns to this formula a few more themes throughout - each time returning enjoyable, if not completely stunning, results.

I found the more reflective mid-tempo songs to be the strongest - with “Oklahoma”, “My Place”, “Things I Don’t Chase”, “Pretty Please”, & “Humminbird” just hitting a particularly on-target bullseye in delivering really fantastic songwriting/arrangement/performance combos.

The weakest link came in a one-two combo of back-to-back tracks “We Don’t Fight Anymore” (a duet w/ Chris Stapleton) & “Rock Paper Scissors”. They both just stood-out as a bit too formulated - lacking the more easily accessible flow of the rest of the album.

CONCLUSION: The lightness of production, strong-enough songs, and solid dependability of the performances did its job with this collection. Like the Lainey Wilson album, I don’t know that I’d necessarily be quick to cue up this album again anytime soon (though I’d be more likely to reach for this one over Wilson’s), it was a pleasant enough listen and worth giving a go - at least once. Thumbs Up and a Grade of C+.

The Red Clay Strays / Made By These Moments

Released: July 2024
Produced: Dave Cobb & The Red Clay Strays

Another fairly clear hybrid. This album certainly defines Southern Rock as well as anything I've listened to so far. The band really delivers that message in pronounced ways as opener “Disaster” hits like a true step-child of Lynyrd Skynyrd's debut album. In fact, the whole collection seems pretty locked-in with carrying the torch of that sub-genre. 

Vocalist Brandon Coleman has a great voice and whether rocking out or finding worthy showcases for a bit more nuance (like the solid mid-tempo track “Wanna Be Loved”) his inflection and emotional range are a huge asset to the band. I’d be inclined to say that all the positives I pulled from this album should mostly be credited to his delivery throughout. He masterfully manages to layer in lots of controlled emotion and range - sometimes even within the confines of a single song.

As stated, this style of music isn’t one I’m normally drawn to, but that didn’t keep this album from hitting me in pretty enjoyable ways. Reflecting, it may have been more about my limited appreciation of this style of music. On one hand, had you told me a song like “Ramblin’” was an Allman Brother Band track, I would have bought it hook, line & sinker. In other words, those clearly intentional Southern Rock connections both work for and against the band for someone like me who has a fairly uninterested stance to bands of this ilk (even if I readily admit that this is based on slight brushes with that style as I have never had a calling to dig deeper than the surface).

The thing working in the band’s favor - in a pretty significant way - is that they hit their musical mark with obvious grit and commitment. Not hard at all to imagine that they would be great live - something I haven't thought about any of the other modern country albums I’ve listened to so far. I will also confess that the album continued to grow on me in positive ways with repeated listens. Playing a big role in that is the band’s ability to maintain a cohesive sound that combines the album’s statement clearly while also including enough variety in song approaches to keep things interesting. A great example of this is the four-song run of the ballad/mid-tempo emotions of “Wanna Be Loved” & “No One Else Like Me” into the jet-propulsion drive of “Ramblin’” into the slow burn build of “Drowning”. Really great stuff! I also appreciated, though not a religious guy at all, the gospel chug of “On My Knees” and more reflective “God Does”. 

To that point, the only other small negative I can add - though at 42-minutes, it isn’t really fair to say the album goes on too long - is that I had wished they had pushed themselves a bit more to stretch and include a few other varied numbers instead of, say “I’m Still Fine” or “Moments” as they both felt like they melded into the background too easily.

CONCLUSION: I think, even though the band had to overcome my general arms-distance relationship with Southern rock, that these guys brought more than enough goods to the table to win me over - or, at least, end up landing on my positive side. This album might not inspire me to dig deeper into old Allman Brothers Band records, but I might return to this collection if I have a particular itch to scratch - and I’ll definitely be looking for an opportunity to see these guys live. Thumbs Up and a Grade of a strong C+. 

Cody Jinks / Change The Game

Released: March 2024
Produced: Joshua Thompson & Ryan Hewitt
All songs written by Cody Jinks (w/ some co-writes).

No need to belabor the point or pick this album apart. It’s simply not my style. 

This collection stands as one of those sliver-thin distinctions in terms of appealing to my particular taste in country music - as this is most certainly a traditional country album. The slight caveat is that this particular brand owes much to a sound that lands somewhere between Waylon Jennings and the more modern fare that occupies the top echelon of commercial country music. It’s a territory that just does very little for me from a music fan standpoint.

The musical road seems so expertly paved that it offers me not much more than a reliable way to get from Point A to B. The time dedicated to the drive is what it is, but the trip just isn’t all that memorable or exciting.

CONCLUSION: In the end, nothing really sucks - Jinks is a more than capable country songwriter and performer and this whole album is pretty rock solid from an arrangement & production standpoint. My Thumbs Down and Grade of C- has way more to do with my own particular taste than anything I can leverage against this album. 

Cadillac Three / The Years Go Fast

Released: October 2023
Produced: The Cadillac Three

This Nashville-based trio caught my ear with their 2020 release Tabasco & Sweet Tea - a playfully funky mix of almost too wide a range of sounds and influences. There were definitely some interesting moments, but I wasn’t fully converted as a fan. Perhaps because that previous album failed to fully pull me in, I completely missed the release last year of this collection - their follow-up.

Simply put, this isn’t a full-on country album. It often has more in common with the sounds of an alt-rock of bands with an injection of bravado & chest-thumping. Opener “Young & Hungry” could be slipped onto a Kings of Leon album without much trouble. 

The album also full-on rocks when it wants to. I would have to classify it as a southern rock hybrid. But I’d say what shows the band’s hand the most is lead vocalist Jaren Johnston’s drawl and predisposed inclination to work ‘whiskey’ into just about all of his stories. Classic rock muscle layered on a southern upbringing.
Of course, there are a few tracks that feel very country - “The Torch”, “Dressed Up To Die” & “Pistols On The Levee” - but they sort of just slip by instead of sucking or throwing the train from the tracks.

Counter those with a few songs (“Love Like War” & “This Town Is A Ghost”) that given an adult-contemporary modern alt production car wash could work perfectly as the next single by The Fray.

CONCLUSION: I didn’t hate this album. The things that worked did so with enough of a ring to keep me (mostly) engaged throughout. I’d probably be more likely to grab a song here or there for a playlist than I would for a full re-listen, but the band has definitely earned my attention enough that I will keep my ear open for future releases. It gets a Thumbs Up and a Grade of a C+.

Kasey Musgraves / Deeper Well

Released: March 2024
Produced: Kasey Musgraves & Daniel Tashian
All songs written by Kasey Musgraves (w/ some co-writers)

I’m really glad that I ended on this album. It seemed to bookend perfectly with the Isbell collection at the beginning of this discovery. 

The first - and most lingering - effect this collection had on me was a favorable reminder of all the late-80s/early 90s female artists that I love. There was a period - leading up to attending the Lilith Fair tour (yeah, I was one of the few guys that went!) - that I was deep into checking out everyone from Suzanne Vega, Natalie Merchant, & Kate Bush to Sarah McLaughlin, Tori Amos & Jewel. That is, amazing songwriters that brilliantly melded folk and pop in convincingly modern ways. 

I totally dig that Musgraves doesn’t shy from building from that DNA while still maintaining a singularly compelling identity. Truth is, other than her vocal inflection from time to time, there isn’t much ‘country’ at all found in this album. Musgraves is a pure acoustic guitar singer/songwriter - who just happened to be armed with some extremely winning songs.

I’d probably give the album a Thumbs Up on the strength of the first three songs alone. Just absolutely enticing in every way. I find “Cardinal” to be a perfect song - beautifully written, arranged, performed & recorded. I’d even say it is, by far, the finest song found on any of these albums I’ve explored. And “Deeper Well” isn’t far behind. I appreciated that the placement of songs really worked to keep things moving in engaging ways - for instance, I found “Sway” & “Jade Green” to really grab my attention as comparatively strong.

Though I really dug the Americana lean of Isbell’s album, I think I’d probably pick Deeper Well as the more completely satisfying collection - with each and every song contributing and also able to stand on its own.

I imagine - though I could be wrong - that there are those that might count as a negative the ‘similar tone’ of the collection, but I find that one of its most alluring attributes. At just over 40-minutes, I don’t find anything but effective cohesion. I benefitted as a listener whether I was digging in and checking out the songs with a magnifying glass as easily as I did when I just let it run - over & over - on repeat while I worked or read. That isn’t to say that I would argue against the album having a soothing hypnotic effect - but how you receive that may have much more to do with your personal affinity to this sort of music. I’m a fan, and Musgraves is the real deal in delivering.

And because I enjoyed the ‘main album’ so much - I did explore the additional seven songs she included on the expanded ‘Deeper Into The Well’ edition. Several of the strongest of these (“Ruthless” & “Perfection”) would have certainly boded well as part of the album. Though nothing included in the expanded version is a dud, I think it was wise to keep the original album as is.

CONCLUSION: I’m going to end this ‘Country Round-Up’ the way it began - giving this album a definite Thumbs Up and a Grade of A. Musgraves' talents as a songwriter and performer are, to my ears, undeniable. Better yet - she locks in to a sound that is familiar in all the best ways while also striking a chord that clearly defines her own personal touch. I will absolutely be circling back on previous albums, while also keeping an eye open for future releases.  

CURRENT ROTATION QUICK TAKES
OCTOBER 2024 

INTRO:
I'm a music junkie - plain and simple. I love keeping up with what old favorites are up to just as much as I enjoy exploring artists new to me. The idea of these CURRENT ROTATION QUICK TAKES posts is to share brief thoughts I have on the newly released albums I've listened to. 

Enjoy!

Coldplay / Moon Music

This one took some work to get through. I am a fan of Coldplay’s heyday (their first three albums released between 2000-2005), and even managed to find worthy flashpot-moments of songs on albums up through 2019’s Everyday Life. However, more than not, what I’ve waded through since 2005 is a gathering of predictably uplifting adult-contemporary. But boy have they outdone themselves in all of the worst ways on this latest collection. It is truly hard to say much that is positive at all. Nothing but anthemic soft-rock/pop that seems to be far more focused on easily-consumed commercialism than anything even slightly resembling their more committed artistic statements. Sure, it all ‘sounds’ like Coldplay - but it sort of dissolves into a less-interesting version of their former selves. Even more cringe-worthy is that it really feels like they made a Hallmark list of tried & true heartstring topics and worked their way through. Perfect song for a wedding first dance? “Feelslikeimfallinginlove” - Check! World peace anthem? “We Pray” - Check! Perseverance lift? “Iaam” - Check! You get the idea. Every sentiment is more saccharine-sweet than the last. Lowest blow, not a single one is truly convincing. Thumbs Down and a Grade of D.

Nala Sinephro / Endlessness

With some music, I love to be kept guessing and appreciate the adventure of not knowing what is around the next corner. On her second album, Caribbean/Belgian composer Sinephro has created the first jazz album in some time to so strikingly grab my attention. I would be hard-pressed to label this collection with a definitive, all-encompassing genre tag. Jazz fusion, atmospheric ambient, electronic/synth soundscaping, art-film soundtrack. They all work! A continuous 45-minutes of adventurous music - I discovered this album to work on lots of levels, not the least of which was an enveloping guide helping to navigate this hypnotic and alluring musical topography. Thumbs Up and a Grade of A.

Lizzie McAlpine / Older (and Wiser) 

This is another artist that hit my radar through my daughter, June. We actually saw McAlpine open for Dodie at a small theater in Orlando and, armed only with an acoustic guitar, she did an admirable job of holding the audience’s attention. This album, her 3rd full length release, definitely exhibits a growth in songwriting and confidence in musical identity. This is most certainly a collection of lovelorn songs - and with that comes a quiet intensity - but this provides plenty of opportunities for McAlpine to shine light on her talents as an intimate storyteller. Additionally, the album is significantly bolstered by some extremely spot-on musical arrangements. Feeling down on a cloudy day, you could do much worse than reaching for this as a companion. Standout Tracks: “All Falls Down”, “Drunk, Running” & “Broken Glass” - Thumbs Up and a Grade of B-.

Ginger Root / Shinbangumi

Almost immediately, this 5th Ginger Root album (the mastermind solo project of Cameron Lew) reminded me of Sparks in all that best way. Like Sparks, this is music that is joyful, intentionally silly & campy, humorous with tongue firmly in cheek & begging NOT to be taken too seriously - while also maintaining a demand to surrender to the enjoyment of it all. The sounds supporting these clever and fun tracks are all over the place, but never fail to summon a cohesive glue. In fact, the patchwork effect of melding & crafting the end product is highly admirable. There is a playful liveliness that harkens the inside of a cartoonish video game or the soundtrack to one of those wildly colorful Japanese game shows. I’m sure this won’t work for everyone - and I would agree that it requires a positive mood - but if you can let down your ‘too cool for school’ shield, this album is sure to win you over. Standout Tracks: “No Problems” & “There Was A Time” - Thumbs Up and a Grade of a convinced B.

Wunderhorse / Midas

Who says you have to reinvent the wheel to have a decent time? One thing that will never get old to me is committed-to guitar rock that sounds like it was born in a garage or tight rehearsal space. On the UK quartet’s sophomore release (produced by Arcade Fire/The National Producer, Craig Silvey), the band leans in and pushes their new ten tracks with a we’re-here-to-deliver confidence. I can concede that this isn’t ground-breaking music, but it lands just enough above a ‘meh flatline’ to receive modest attention. Even the tracks to threaten to derail (“Silver” & “Cathedrals”) are countered by enough that keep things afloat - especially the more ‘artsy’ numbers (like “Emily” & “July”) that aren’t afraid to take their time in delivering the goods. Standout Tracks: “Midas” & “Aeroplane” - Thumbs Up and a Grade of a passable C.

Milton Nascimento and Esperanza Spalding / Milton + esperanza

I was first exposed to the music of this Brazilian artist through his’97 release Nascimento - though I don’t recall how it originally hit my radar. I’m not 100% how this recent collaboration album with five-time Grammy winner, American musician/vocalist Spalding caught my attention (perhaps a positive NPR write-up?), but I jumped in just the same. At 81, Nascimento (who hasn’t released any music in almost 10 years) seems happy to serve as inspiration & collaborator to Spadling’s arranging/production work. The album is a mix of originals from both artists and covers - some of which work (Michael Jackson’s “Earth Song” and the dedicated re-working of Wayne Shorter’s “When You Dream”) and some that don’t (“A Day In The Life”). But mostly, the collection feels like a ‘fly on the wall’ mixtape of musical sketches - worthy of a pass-through, but maybe not a permanent add to one’s musical library. Standout Tracks: “Cais”, “Outubro” & “Um Vento Passou” (featuring Paul Simon) - a respectful Thumbs Up and a Grade of C.

Nada Surf / Moon Mirror

By the time October hits, most of you are settling into proper fall. In south Florida, we are hoping that we can officially call it the end of summer. And nothing hits better this time of year than a perfect End-Of-Summer soundtrack. Look no further. On their 10th studio album, the NY quartet continues to deliver the same clever rock/pop that was displayed in ‘96 through their Ric Ocasek Produced debut. This is smart, well-crafted bursts of the sort of quality orchestrated rock that has its foundational roots in the blueprints of Cheap Trick and the modern flourishes of ‘90s contemporaries like Guster and Death Cab For Cutie. Music that feels familiar and earnestly alluring at the same time. Even if you live somewhere that has a nip in the air, roll the windows down and turn this one up! Standout Tracks: “In Front Of Me Now”, “Losing” & “Second Skin” - Thumbs Up and a Grade of a solid A.

Julie / My Anti-Aircraft Friend

I’m always apt to tip my hat to any new act that feeds from the trough of grunge bands that were originally inspired by noise outfits like Sonic Youth. On their debut, LA outfit Julie seems especially focused to emulate the latter. So much so that I was instinctively tempted to turn off their album and dial up the source material. This collection seems to have its heart in the right place, but I was too often distracted and left wanting to hurry things along. Standout Track: “Clairbourne Practice” - Thumbs Down and a Grade of C-.

Trentemøller / Dreamweaver

This was an interesting and (mostly) understated modern collection of dreamy dark-wave. It lands somewhere between Siouxsie & The Banshees and a David Lynch movie soundtrack. With vocals provided by Icelandic artist Dísa, Danish songwriter/musician/producer Anders Trentemøller has convincingly created a hazy shroud of sound that pays equal homage to this genre’s creators, while also presenting a defined stance of its own. This isn’t beach BBQ music, but would certainly hit the right place given the right mood and setting. I’d suggest low lighting, a candle or two & some red wine. Standout Tracks: “A Different Light” & “Dreamweaver” - Thumbs Up and a Grade of B-.

Suki Waterhouse / Memoir of a Sparklemuffin

I’d rarely let something like an album title shake me, but I have to say - right away Waterhouse had an uphill battle. I knew nothing about this model/actress/accessory designer/singer/songwriter - but once learning of her various outlet avenues, you do wonder if any of the above might reveal a bit of thinning-out as far as true talent goes. Listening to this album I think I know the answer. On the surface, it is all very paint-by-numbers pop with a moody alt-lean, but what really sinks things isn’t that you can play a drinking game naming the more talented female performers Waterhouse wishes she was. The real problem is that her predictable take on the genre comes across as recycled lifting instead of respectful inspiration. Standout Track: “Supersad” - Thumbs Down and a Grade of C-.