Little King Swingin’ For the Fences with ‘Lente Viviente’
Little King has been going strong since 1996, as a band, and ‘Lente Viviente’ is one of the band’s most highly anticipated releases to date. This new record really highlights the group’s range vocally, lyrically and musically as Little King looks to blow minds & ears! Recorded at a fresh, new music studio, the stage is set for Little King to have massive success with the brand new album titled ‘Lente Viviente’.
The album features seven, standout-tracks with each composition carefully placed and constructed with the utmost precision. The current lineup for Little King includes frontman and vocalist & guitarist Ryan Rosoff, David Hamilton on bass & cello, Tony Bojorquez on drums and Laura Sadie Bette on backing vocals on tracks four & seven. ‘Lente Viviente’ was engineered by Ricky Wascher Tavares at Cimamusic in Tucson, AZ,
Mixed by Daniel Salcido at Command Space Audio in Los Angeles, CA and Mastering by Maor Appelbaum at Maor Appelbaum Mastering. Also, hat’s off to Savannah Maher on the album art because it is eye-catching, to say the least! The cover features a detailed king’s crown on top of an elaborate lens displaying the three Little King members inside. Right away, the listener will be drawn into Little King’s world just based on the creative cover art.
With elements of metal, hard rock, progressive rock and alternative, ‘Lente Viviente’ is melodic rock at its finest! It is now time to embark on one adventurous expedition, so listen closely and prepare to reel in “Catch and Release”. Right out of the gates, Little King is providing an attention-grabbing rhythm and rockin’ riffs that will keep you engaged throughout the musical voyage. “Catch and Release” is a real crowd-pleaser and a perfect way to kick off ‘Lente Viviente’.
Be sure to Skope out the official music video for “Catch and Release” right here: https://www.youtube.com/watch?v=Hgt9U547jbw.
Next, the audience will hear an intriguing arrangement on “Dawn Villa” as Little King truly brings the heat on this enriching number. Track three, “Who’s Illegal?”, is dramatic to the max as the song builds up momentum note by note and lyric by lyric. By the end, the audience will be asking themselves “Who’s Illegal?” and what is the significance? Little King goes with a deep-minded mix on the following song, “Kindness For Weakness”. A sense of sharp intellect collides with human emotions on “Kindness For Weakness” making for one profound listening experience. Track five, “Sweet Jessie James”, is beautifully orchestrated and simply just a well-polished recording and powerful production overall. Little King offers up a very strong performance on “Pass Through Filters” where this song really grabs you vocally & instrumentally. By the end, everything seems to be in full focus for the entire world to hear on “The Living Lens”. All of you music heads enjoy this crystal clear and clean cut because “The Living Lens” fully capture’s the true essence of Little King.
Ryan Rosoff had this to say about the new record, “I think this will be BY FAR our biggest release. The playing, songwriting, and production are our greatest accomplishments. New players on drums and bass, plus a new studio, have really elevated this project. I want people to take a short, mind-blowing journey…like Musical DMT. We are aiming to hit all the notes and emotions…the dynamic range of this record will push and pull from the first note to the last.” Excitement is certainly in the air for this new release as ‘Lente Viviente’ is set to receive major traction! All members of Little King should be very proud of their efforts on this project because ‘Lente Viviente’ is one ambitious record that is a sure-fire hit!
For further reading about the band, check out this in-depth interview I did with Little King last year that chronicled the group’s entire musical catalog: https://skopemag.com/2024/01/26/jimmy-rae-closely-examining-the-entire-catalog-of-little-king.
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https://ashermediarelations.com/2025/08/21/epk-little-king-lente-viviente-2025/
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By Jimmy Rae
D’Lee Presents “STAGNATION”
When an artist writes from the heart, the result often transcends genre, becoming something universal. This is what Texas-based country artist D’Lee achieves with her latest single “Stagnation” a slow-burning, cinematic rock ballad that takes her well out of her comfort zone.
According to D’Lee, Stagnation was written during what she described as “a season of personal paralysis”. The song’s genesis was a journal entry that was eventually shaped into a reflection on the creative exhaustion she felt from performing and releasing music nonstop. This lived experience helps D’Lee craft a piece that feels both intimate and anthemic, both personal and universal.
Opening with husky vocals and haunting guitar lines, this moody, bass-driven track has the perfect sound for the darker messaging it tries to convey. Gradually, the vocals amp up to deliver a powerful chorus followed by a delightfully heavy guitar solo.
At its core, “Stagnation” is a meditation on waiting; the tension between wanting transformation and fearing it. The lyrics are direct yet poetic, with short declarative phrases that capture exhaustion, self-doubt, and fragile hope.
Lines like “Clock keeps ticking, I’m the one it kills/In this empty void, I’ve lost my will” encapsulate the inertia that defines the song’s emotional landscape. Usually, you’d end with a spark of forward energy, but D’Lee bravely leans fully into the hopelessness delivering a statement of despair that’s incredibly relatable and cathartic for anyone that’s been there before.
Produced by Jacob Kulick, the track’s engineering plays a vital role in conveying its emotional weight. Kulick’s mix uses layering subtly, and the electric guitars grow slowly beneath the acoustic foundation, bass thickens the space, and a faint string pad fills the high end without overwhelming the vocal.
Stagnation isn’t just a song about feeling stuck, it’s an expression of the emotional turmoil that comes with it. With this single, D’Lee demonstrates her maturity as an artist, and her ability to cross genres when the theme demands it. If this is any indication of what’s to come on her upcoming EP “fifty-five”, the release is going to be an absolute stunner.
https://www.instagram.com/dlee.official/
Premik Russell Tubbs & Margee Minier-Tubbs Presents “Oneness-World”
Connecticut-based composer & lyricist Margee Minier-Tubbs, together with her multi-instrumentalist partner Premik Russell Tubbs, delivers not just an album but a thematic, cross-cultural journey with their latest album, “Oneness-World.”
This 7-track, approximately 47-minute work positions itself as a world/jazz-fusion project that seeks to dissolve musical boundaries and evoke a sense of spiritual and social unity. From the opening title movement to the very end, the album tries to balance instrumental virtuosity, lyrical and spoken poetic expression.
The album begins with “Oneness”, a perfect showcase of the album’s theme. It features Margee’s spoken-word introduction layered over chantlike motifs and gradually gives way to instrumental expansion complete with sax and flute lines.
https://margeeminier-tubbs.bandcamp.com/album/oneness-world-2?from=discover_page
https://www.margetoilerecords.com/
“Joie de Vivre” is a French term for the cheerful enjoyment of life, and this track perfectly encapsulates that feeling with its bright passages and catchy drums. This is immediately followed by “Catwalk (A Stitch in Time)”, a 12-minute track inspired by the glamour and shine of the fashion industry. But the start was just a subversion of expectations as the third movement delivers a scathing spoken-word criticism of fast fashion and garment factories.
“Norwegian Dance” adds diversity to the album by incorporating traditional Northern European instrumentation and is actually super interesting if you’re not familiar with Nordic music. The album closes with “The Bells”, a Christmas-inspired single with gentle, yet festive instrumentation. It’s not even Christmas season yet, but given the rollercoaster journey we’ve been on, it somehow doesn’t feel out of place.
What distinguishes Oneness-World is how densely layered it is: atmospheric pads, world percussion, background vocal textures, spoken word overlays. Keeping things coherent would’ve been an incredible challenge in the production room, but this album succeeds.
Oneness-World is a work of deep sincerity and complexity. If you’re a listener who enjoys albums as journeys where you lean in, explore, and revisit the textures, this record is a great fit. A fair warning for more casual listeners; this is not background music; it communicates, critiques, and demands your attention.
Lourdes Pita Presents ‘Soul Dance’
Boston-based singer-songwriter Lourdes Pita delivers a stunning reminder of her musical legacy with her latest album “Soul Dance.” This ten-track record leans into a warm, adult-contemporary sound that mixes pop-soul and soft rock; a perfect blend to showcase Pita’s clear, expressive voice and knack for honest, uplifting lyrics.
Lourdes Pita is a bilingual, cross-genre singer-songwriter whose musical journey was greatly influenced by her mother, the acclaimed Cuban poet Juana Rosa Pita. Her classical flute training and bilingual upbringing are significant influences in Pita’s music, as her catalog stretches across English and Spanish songs and several stylistic lanes.
The album opens with the titular track “Soul Dance;” a theatrical ballad complete with violin backing and a soaring chorus. This melodic single is a perfect showcase of
Pita’s upper register and virtuosity as a vocalist as she effortlessly hits high notes without ever dropping the intensity.
She immediately switches up genres with the follow-up single, “Courage to Live,” which is a guitar and drum-driven track that takes on more of a pop-rock sound. Despite the overall theme of moving on, this single succeeds in being uplifting and energetic, delivering that bittersweet taste that keeps you coming back for more.
“Coming Home” is a standout track with its nostalgic lyrics and gentle rhythm. The drums and guitar take on an almost Latin-pop sound without leaning in too heavily into the genre. It’s this kind of restraint that keeps the entire album interesting, with each track having something familiar, but also something fresh mixed in.
Musically, Soul Dance sits in the intersection of adult contemporary, pop-soul, and light pop-rock with guitars, piano and a steady rhythmic backbone pushing many tracks forward, the arrangements often leave space for Pita’s vocals to carry the emotional weight and the songwriting is poetic while still being accessible to a casual listener.
The production on this record favors clarity, with instruments arranged to support the vocals rather than competing with them. While the album still sounds polished, the emotional content always lands without ever feeling over-produced.
If you enjoy singer-songwriters who favor clear melodies and heartfelt lyrics with a few Latin and rock influences mixed in, Soul Dance is an easy recommendation. It’s perfect for both casual playlists and for emotionally uplifting active listening. This album showcases Pita’s class and experience, and is bound to make a mark on her already impressive discography.
ONLINE:
https://lourdespita.com
https://www.facebook.com/lourdes.pita.3
https://music.amazon.com/artists/B003GF2GXK/lourdes-pita
Blake Red Presents “Out of the Cage” EP
Fans of Blake Red will already know that her music never lacks energy, but “Out of the Cage” kicks things up a notch with a powerful raw metal sound. This tightly focused, snarling comeback EP delivers five tracks that trade subtlety for emotional heat while still being melodically savvy when called for.
Out of the Cage is Chicago-based Blake Red’s first EP in four years, and was positioned as a homecoming release with a Chicago release-show on the same date. dedicated to Red’s late father, the inspiration behind her musical journey, this EP leans hard into themes of survival, and defiance.
The album opens with the title track “Out of the Cage,” a fierce single that makes an impact with its heavy drumming and guitar solos. Blake’s vocals are almost chant-like, giving the song a strangely otherworldly sound.
“Secrets Are No Fun” takes on a more of a punk rock sound and is a narrative track that twists a childhood rhyme into something threatening. The jagged riffs and a propulsive arrangement underpin lyrics about gossip, betrayal, and the damage of weaponized secrets.
But the standout single is “Scorpion,” the EP’s angriest and most immediate track. Distorted guitars create an incredible atmosphere for the venomous chant that is the chorus. Lyrically, it uses the scorpion as a metaphor for predators and toxic people while sonically building it to sting.
Blake Red writes and performs as a multi-instrumentalist, and also produces much of her material herself. The production on Out of the Cage pushes a muscular alt-rock/metal sound, favoring immediacy and impact over gloss.
Out of the Cage is a compact and compact and compelling calling card that has Blake Red returning louder and sharper than before. With its snarling arrangements and ruthless lyrics, this is a perfect collection for fans of alt-rock that wears its scars on the sleeve.
https://www.instagram.com/blakeredrocks/
Bryon Harris Presents ‘Tears Me Up’
Austin-based singer-songwriter and mixing engineer Bryon Harris releases a powerful statement with his latest single “Tears Me Up.” With its warm vocals and restrained arrangement, this indie-rock and soul fusion subverts your expectations only to deliver an ethical jolt with its subtext: you don’t hear animal suffering until the moment you can’t look away.
Tears Me Up was released through Artists & Activists Records; an animal rights-focused record label that aims to drive change through the power of music. Bryon’s rollout was scheduled for the World Day for Farmed Animals, clearly framing the single as advocacy through art rather than a purely introspective ballad.
The lyrics on this track are incredibly powerful, with lines like “Maybe I wasn’t even listening/I was running, now everything’s changing.” and “I didn’t know what you were going through/Then somebody said, ‘It’s just the way it is.” highlighting our almost willful ignorance of animal suffering.
Bryon himself states that Tears Me Up is “about learning to truly see animals, people, ourselves, and to change when we know better.” It’s about moving from a place of benign ignorance to a moral awakening when you finally see suffering and can no longer pretend it isn’t there.
Musically, the track sits in a comfortable indie-soul pocket, and is produced to highlight the intimate vocals and lyrical messaging. Bryon runs his own production outfit, BWH Studio, and handles the mixing and engineering on the track himself. The result is a polished but not over-produced mix with tasteful use of supporting instrumentation, and an emotional rise that’s earned rather than theatrical.
Tears Me Up switches up from traditional manifesto-driven animal rights protest songs, and delivers a carefully written, warmly produced plea for compassion. It’s a quiet, accumulative track that aims to make listeners see what they’ve been turning away from. If you’re moved by music that tries to transform empathy into action, this one’s worth a focused listen.
http://artistsandactivists.org/
Lizzy & the Triggermen Presents “Live at Joe’s Pub”
LA-based jazz collective Lizzy and the Triggermen deliver a joyously theatrical experience with their latest release, “Live at Joe’s Pub.” Covering an entire live swing set complete with lead singer Elizabeth Shapiro’s witty remarks in between tracks, this album captures the band’s onstage electricity and sounds immaculately produced for a live recording.
The first thing you notice is how clean the recording is for a live capture. The mix places Lizzy Shapiro’s powerful vocals front and center without drowning out the rhythm and horns, and crowd ambience is present but never intrusive. This live album is clearly intended to show what the group does best: stagecraft and swing delivered by first-rate players.
https://lizzyandthetriggermen.com/album/3651259/live-at-joe-s-pub
The album kicks off with the electrifying “When I get Low I Get High.” Driven by up-tempo percussion, energetic horns, and rapid-fire vocal delivery, this is an electrifying opener that immediately catches your attention. Lizzy doesn’t shy away from showing off her prowess as an operatically trained vocalist as she sustains long notes and switches between high and low registers with ease.
The band weaves in classics like “I Got a Lot of Living to Do” from Bye Bye Birdie. This is followed by the original “I Know a Man,” which switches up the tone to take on a slower, more reflective energy. The band adapts perfectly, delivering a soft and somber accompaniment that really tugs at your heartstrings.
The band’s interpretation of Britney Spears’ “Baby One More Time,” arranged by Dave Bennett, is a standout moment on the album. Lizzy does a tremendous job of preserving the song’s intensity while the band adds some instrumental solos and jazzy call-and-answer sections that really elevate it musically.
The final track, “I love to Singa,” is the perfect closer to the album. Inspired by a 1936 Warner Bros. animation, this single pays homage to Lizzy’s roots as an opera singer while keeping that lighthearted, whimsical tone that makes the band what it is.
It’s rare to see a live album that nails it on so many counts. The musicianship is superb, the arrangements somehow sound vintage and fresh at the same time, and Lizzy’s vocal performance mixes sultriness, theatricality, and precision.
This album works as both a souvenir for people who saw the band live and as a convincing showcase for Lizzy & the Triggermen’s concept. It’s polished while still being showy and personable. Live at Joe’s Pub is an incredible record, and we can’t wait to see what more the band has in store for us.
https://lizzyandthetriggermen.com/home
Order of Silence Presents ‘Matter of a Fact’
Graham Perry & Brad Cole reunite as Order of Silence to deliver a warm, nostalgic, and well-crafted track with “Matter of a Fact.” With old-fashioned lyrics and an alt-rock sound in the style of Counting Crows, this is a strong comeback single for the reunited duo.
Released on GGP Records in September 2025, the release was born out of a real-life reconnection: Perry and Cole, bandmates from the 1980s, reunited after the funeral of a former bandmate, and decided to finish “the record the band never recorded.”
Musically, the single sits in that comfortable middle ground between classic rock and power-pop. The melody is driven by keyboard and guitar lines that fill out the midrange, while the duo delivers vocal harmonies that lift the chorus. There’s nothing too fancy here, which perfectly suits the material as it focuses more on emotion and storytelling.
SPOTIFY:
BANDCAMP:
https://orderofsilence.bandcamp.com/track/matter-of-a-fact
VIDEO:
The song is an intimate plea, with the narrator seeing the woman he likes making a poor choice and begging her not to “give herself away.” That voice of quiet yearning; “I’ll be lying in the shadows/Will you ever notice me…” is a powerful expression of vulnerability and a slow-burn regret.
The overall production is clean and warm, and is polished enough to feel radio-ready. but it’s clear that Perry and Cole know what they’re doing, as there’s enough restraint for the storytelling in the vocals to remain front-and-center.
ONLINE:
https://orderofsilence.bandcamp.com/
https://www.facebook.com/GrahamPerryandtheAfterthoughts/
“Matter of a Fact” succeeds on melody, arrangement, and emotional clarity. It’s lyrically heartfelt and nostalgic; the perfect formula for a comeback single. There’s a ton of potential here, and we hope Order of Silence follows up with more music that could turn this reunion into a contemporary music powerhouse.
Christina Crofts Presents ‘Best of Bottleneck’
Veteran Australian Guitarist and Singer-Songwriter Christina Crofts delivers a confident reminder of her legacy with the compilation album “Best of Bottleneck.” Spanning 12 singles, this is a tight, well-sequenced compilation that highlights Christina Crofts’ strongest slide-guitar moments from across her catalogue.
The project pulls together Christina’s live staples and favorites from earlier releases, but with a common theme this time. The curatorial idea of giving her bottleneck playing the center stage is precisely the album’s selling point. This is not a concept album, but rather a nonstop ride of electric entertainment from start to finish.
The album starts with one of Christina’s coolest originals, “Voodoo Queen,” which is based on the legend of Julie Brown, a woman from Manchac Swamp Louisiana who reportedly cursed her entire town upon her death. This raucous and heavy track is a perfect opener, as it immediately hooks you with its energy and bold slide phrasing.
The immediate follow-up is “Breakaway,” one of the record’s best-known cuts. Featured on her 2016 EP, this single debuted at #1 on the Amrap AirIt regional charts. With less chaotic vocals and strong guitar solos, this single is ideal to showcase Christina’s versatility and bottleneck prowess.
The closing track, “Escape to Blue,” stays true to the album’s theme as this is a track where the guitar dominates the soundscape. On the one hand it’s a brave choice, because newer listeners might not take well to pure instrumental performances, but Christina is committed to her craft, and makes a tasteful pick for the album’s closer.
What stands out on this album is the tone of its production. Christina prefers a gritty, weathered bottleneck sound rather than sterile precision. The slides are voiced with plenty of sustain and sit on top of the band without sounding harsh. The performances felt live and immediate, almost replicating the energy of her shows.
Best Of Bottleneck succeeds at its aim, presenting Christina Crofts as a world-class slide guitarist. The production and track selection make it a great starting point for newer listeners, and for old fans, it’s a nice remaster that gathers favorites in one place.
https://www.christinacrofts.com/
Gino Amato Presents “Latin Crossroads Two”
Following the success of his earlier project “Latin Crossroads”, veteran pianist and composer Gino Amato returns with the much-awaited sequel: “Latin Crossroads 2”. Amato picks up the idea from the first Latin Crossroads, taking familiar songs and “Latinizing” them by rebuilding grooves, reharmonizing lines to shift the songs’ emotional centers.
The result is a polished, high-concept set of eleven reimagined classics, all steered through Gino Amato’s Latin-jazz arranging lens. It’s warm and expertly arranged; a record for listeners who like their favorites repackaged with fresh instrumentation and thoughtful vocal harmonies.
The album opens with “Me and Julio Down by the Schoolyard,” which reimagines Paul Simon’s 1972 hit of the same name. With its lighthearted lyrics and breezy tone, this is a fun, fiesta-leaning opener that intends to prove the album’s concept by showing that you can make even a Paul Simon pop tune swing with salsa-tinged energy.
Amato’s interpretation of Victor Young and Edward Heyman’s “When I Fall in Love” is a standout on this album as it features the A Capella group King’s Return. The focus on vocal harmonies over instrumentation is a really interesting touch. But on top of that, the arrangement is mesmerizingly beautiful, drawing you in from the opening harmony and never letting go.
The album closes with another interesting experiment, as Amato creates a purely instrumental track inspired by Rimsky-Korsakov’s “Scheherazade.” The mambo/salsa tune suits the original oriental theme shockingly well, and the trumpet phrases blend beautifully with the strings in the background.
These sessions were assembled from top-tier studio players and guest stars, with the likes of Oscar Hernandez, Joe Locke, Doug Beavers, Alex Norris, Itai Kriss, and Samuel Torres joining in. The recording favors live tracking for the instrumental beds with vocals overdubbed, and that foundation helps the charts breathe even when the arrangements are dense.
Overall, Latin Crossroads 2 is an elegant, well-executed project: a curator’s album as much as a performer’s. This is the kind of record that’d be wasted on a passive listening playlist, and deserves to be appreciated with good speakers so you can savor the interplay between horns, percussion, and voices.
https://www.latincrossroads.com/
Billy Lester Trio Presents “High Standards”
The Great American Songbook is a comfort zone for jazz performers and audiences alike. These are tunes we know by heart, familiar melodies that tug at nostalgia while providing a canvas for improvisation. For veteran pianist Billy Lester, however, standards are anything but safe territory.
Recorded in collaboration with bassist Marcello Testa and drummer Nicola Stranieri, the Billy Lester trio’s latest album, “High Standards,” radically reinvents nine classic jazz standards. Lester not only strips these songs down to their bones, but rebuilds them into something daring, unpredictable, and intensely personal.
The setlist reads like a classic jam session. Opening with “There Will Never Be Another You,” the album ventures into upbeat territory, with Lester dancing through complex solos. The original melody is not presented directly, with the theme being explored in fragmented phrases instead.
“What Is This Thing Called Love?” contrasts nicely with the other early entries, bringing a noir vibe to the album. Meanwhile, “Out of Nowhere” stands out as a single that thrives on dissonance. For the unprepared ear, this can be disorienting, but that’s precisely the point: Lester isn’t decorating standards, he’s deconstructing them.
The trio proves to be an inspired match. Testa and Stranieri don’t just accompany; they listen and create space for Lester’s direction. Their understated propulsion on the virtuosic I’ll Remember April turns the tune into a tightrope act, with the pianist bending time and harmony in ways that keep the listener perpetually on edge.
High Standards highlights the boldness and conversational interplay of the Billy Lester trio. Lester delivers a radical reclamation of the Songbook as a living, malleable art form, and his vision may just fly over the head of a casual listener. But for those willing to lean in, it is an absorbing listen.
https://www.billylestermusic.com/
@skopemag Review: The Croft of Grimme’s Tales featuring Sapphire Star Studios
With her latest release, The Croft of Grimme’s Tales, Monique Grimme steps out of her shell as a producer and enters the spotlight as an artist and storyteller in her own right. Known for her role as a label head and creative force at Bongo Boy Records, Grimme has long championed indie artists, but here she crafts a collection with a personal touch alongside the cinematic vignette.
At just seven tracks and roughly 25 minutes, The Croft of Grimme’s Tales is concise, but its brevity is no indicator of its emotional depth. The album weaves imagery drawn from myth and memory, often leaning on nature as metaphor. Roses, ivy, butterflies, and hidden crofts populate her lyrics, pulling listeners through a private, symbolic landscape.
https://artists.landr.com/057829426009
The opening track, “Fight-less friends,” sets the tone with its unique take on friendship and haunting backing melody. Singles like “The Ballad of the Humble Clove” and “Poison Ivy” expand that palette, pairing confessional lyrics with innovative instrumentation that evolves with each track.
Sapphire Star Studios’ lush, atmospheric production immediately stands out on this record, as it’s here that Grimme balances intimacy with cinematic scope. The ethereal music is textured enough to hint at something larger, but it’s deliberately engineered to sound sparse, allowing the lyrics to shine through.
Songwriter: Monique Grimme
Production with Featured artists from Sapphire Star Studios
Record Label: Bongo Boy Records
This balance works particularly well on “When A Butterfly Alights,” one of the record’s most delicate cuts. The song’s skeletal structure foregrounds Monique’s lyrics, which carries a vulnerability that strengthens the album’s narrative heart. By the time “Deep in My Soul (Epilogue)” closes the collection, the project feels like it has traveled full circle.
https://www.facebook.com/MoniqueGrimme
– https://bongoboyrecords.com/sapphirestar/
The Croft of Grimme’s Tales is not a flashy album. It is a collection of whispers; small stories told with enough atmosphere to feel cinematic and enough restraint to feel intimate. For listeners drawn to narrative-rich folk-pop, Monique Grimme’s latest work is a must-listen.
Lili Maljic Presents ‘The Nearness of You: In Loving Memory of Jim Rotondi’
Up-and-coming Austrian jazz vocalist and pianist Lilimae (Lili Maljic) makes her first full-length statement with “The Nearness of You – In Loving Memory of Jim Rotondi.” This album collection of standards threaded together by her warm, intimate delivery and the unmistakable presence of late trumpeter and her mentor, Jim Rotondi.
When a debut arrives framed as a memorial, the stakes feel different, and this record feels like both a tribute and a quiet showcase of a young artist stretching into her identity. Recorded in May 2024, only weeks before Rotondi’s passing that July, the context hangs over every note.
– https://lilimaemusic.com/album/the-nearness-of-you/
The album begins with “The Shadow of Your Smile,” which sets the mood immediately. Lilimae’s vocals are hushed and reflective while being warmed by Rotondi’s trumpet. This is followed by the more upbeat “Easy to Love,” which thrives on conversational phrasing. The record moves from sparseness to ensemble fullness, establishing Lilimae as an artist that’s not confined to one style.
“The Nearness of You” is the centerpiece, with Lilimae’s arrangement bending time and dynamic in service of intimacy. The album closes out with a classic, “That old Black Magic,” which features Lilimae performing solo on piano and vocals. The delivery of this track is incredible, with Lilimae’s haunting vocals stealing the spotlight from the opening note.
Throughout the project, Rotondi didn’t just play trumpet; he arranged, and helped frame Lilimae’s debut, making the project feel more like a collaboration than a simple vocal showcase. The result is an album that mourns without sentimentality, honoring a mentor by foregrounding musical dialogue and restraint.
The Nearness of You succeeds as both an introduction to Lilimae’s artistry and a heartfelt farewell to Jim Rotondi. Its emotional honesty shines through thanks to the clean and intimate production along with the refined ensemble performance. The record isn’t flawless but Lilimae shows an abundance of promise, and that’s enough to keep us coming back for more.
https://www.instagram.com/li.li_mae/
@skopemag Video Review: “Pick Up The Banner” by Peter Unger
The camera pans to a young child running through an open field with the American flag in hand, while a shot of the declaration of independence unfolds in the foreground. Rev. Peter Unger’s latest music video, “Pick Up the Banner,” opens with evocative visuals and warm acoustic guitars that draw you in from the first note.
The lyrics flash across the screen, asking a powerful question right at the start: “If the Sons of Liberty were alive today/What would they fight for/What would they say?” Unger makes it clear that he’s not here to preach. With a montage of the founding fathers forming the backdrop to the lyrics, this single aims to remind us of the reason the US came into being.
Unger combines acoustic country and gospel textures in his signature style, and the slow pacing of the video perfectly complements this artistic choice. The vision behind the song is to keep the message simple and powerful, with the refrain, “So pick up the banner and wave it high/To keep the spirit of ‘76 alive,” achieving that with ease.
The music video is rich with imagery of waving the star-spangled banner and depictions of the revolutionary war, and you can’t help but feel a little patriotic while watching it. Unger’s warm and rich vocals praise America’s democracy and constitution that “declares the rights of all humankind.”
It’s easy to get carried away with flashy visuals when you’re making a music video, but Rev. Peter Unger’s focus stays true. The emphasis falls clearly on the core message, but the video is still produced well enough to add value to the track. With the combination of lyrics lauding American virtues, classy musicianship, and tasteful visuals, “Pick up the Banner” has the makings of a modern classic.
– https://www.reverbnation.com/revpeterunger
Charlie Icon Presents ‘Gas Station Nachos EP’
Arizona-based singer-songwriter Charlie Icon crafts an impeccable record with his latest EP, “Gas Station Nachos.” The EP’s title really subverts your expectations, because you half-expect irony, maybe a throwaway snack of a record, but Charlie’s release flips that expectation by delivering a lean and memorable late-night listen across four concise tracks.
After working in the spaces between country-rock and indie for a few years, Gas Station Nachos marks a change to a more urban alt-rock sound. Produced with Julianne Hope in Los Angeles, the EP favors intimacy and grit. It’s music for small hours, car speakers, and the hum of fluorescent lights at a roadside stop.
The record opens with “Holy Water,” a subdued invocation that sets the tone: voice first, production second. Icon’s delivery is raw but controlled, giving the impression of someone singing directly across a table rather than from a stage.
The title track, “Gas Station Nachos,” is the standout on this EP. With a clever bit of imagery in the line “Gas station nachos taste like five-star nights,” Charlie turns cheap food into a symbol of imperfect comfort and roadside romance. With its earworm chorus and the tone of a hopeless romantic, this is the song most likely to pull new listeners in.
“Fade” slows the pulse even further, leaning into atmospheric textures that make it the EP’s most reflective moment. It feels cinematic, almost like an interlude that lets the night air in. The record closes with “All These Years,” a string-backed number that brings the set to a mature finish, looking back on memory and longevity with quiet resonance.
At just over twelve minutes, the EP barely lets you settle before it’s done, but that brevity is part of its character. The project’s warmth and humanity amplify its ability to stick long after the last track ends. If there’s once criticism of this EP, it’s that we didn’t get more, and we can only imagine what Charlie could do with more adventurous production and a full-length statement.
Yet in its restraint, Gas Station Nachos feels intentional: a snapshot of where Charlie Icon is heading as he redefines his sound. For listeners looking to try something new, this release is a must-listen.
Zach Ewald Pesents ‘Strike a Match’
Minnesota-based indie punk artist Zach Ewald was never one to shy away from ideologically charged music, and his latest EP, “Strike A Match” is no different. This compact, mission-first record features five (or eight if you get the CD version) brisk, no-frills songs that wear their conscience on their sleeve.
Over the recent years, Ewald has mixed punk, folk-punk and short-form releases, often explicitly tied to animal-welfare causes such as state donations and dedication to sanctuaries. Strike A Match is produced in the same vein, with the proceeds from album sales being donated to Cloven Heart Farm Sanctuary & Best Friends Farm.
The album opens with its title track, “The Restaurant Song,” a short and punchy single with communist undertones. Ewald’s voice drips with venom as he paints a picture of the plight of a restaurant worker while bringing themes of class consciousness to light.
“Annie A.L.F.” is a standout moment on the album as it diverts completely from the punk undertones of the other singles, opting for harmonica phrases that bring folk textures into the single. A.L.F. here probably refers to the Animal Liberation Front, with Annie A.L.F. being a fearless activist that fights for her cause despite multiple arrests.
https://concreteheadentertainment.bandcamp.com/album/strike-a-match
Ewald appears to have a penchant for character driven songs, with the other highlight of this album being the CD-exclusive single “Molotov Mary.” Just like Annie, this single tells the tale of a radical environmentalist, but takes it a step further with Mary “standing outside the butcher’s shop with a Molotov.”
Strike A Match certainly makes an impression due to its powerful moral and artistic stance. True to its lyrical tone, the production has that distinct indie/DIY sound to it and never feels overproduced. If anything, it feels raw, unpolished, and unfiltered in the best possible way.
Overall, Strike A Match is a focused, principled EP whose value goes beyond sonic novelty. It’s a small, sharp piece of community-driven punk activism. If you’re sympathetic to environmental, animal rights, and communist causes, or you enjoy stripped-back punk with a point, this release delivers.
https://bestfriends.farm/about/
https://www.clovenheartfarmsanctuary.org
Rick Keller Presents “Heroes”
Las Vegas-based saxophonist and composer Rick Kelller returns with a powerfully uplifting new release: “Heroes.” This album pays homage to the giants of Jazz that shaped Keller’s identity as a composer and performer, drawing on the styles of Miles Davis, Wayne Shorter, Joe Zawinul, Herbie Hancock, Ralph Towner, and many others.
Rather than offering covers or straightforward tributes, Keller builds Heroes entirely on original compositions. The result is a collection that acknowledges its lineage, but speaks in contemporary terms. Across the record’s 14 tracks, Keller’s saxophone is both narrator and guide, weaving melodic lines that are at once lyrical and exploratory.
https://rickkeller.bandcamp.com/album/heroes
The opening track, “For Pat,” is inspired by Pat Metheny and appears to draw inspiration from Latin rhythms as well. It’s a melodic number where Keller’s sax takes center stage and is carried forward by a catchy drum beat to make for a rewarding listen.
On “Ahead of the Curve,” the album’s most overt nod to fusion tradition, Keller pays tribute to the band Steps Ahead. He delivers some incredible saxophone lines, but
it’s Nick Mancini’s vibraphone solo that really steals the spotlight on this single with its color and rhythm.
The album closes out with six tracks inspired by Oregon, which draw heavily from world music influences. Complete with vocal chants and harmonies to accompany Keller’s performance, the final track, “Hymn,” is dedicated to the broader theme of understanding your purpose and mortality, bringing a meaningful close to the album.
The album was recorded at UNLV Recording Studios, with Keller himself credited for sound design and mixing. Mastering by Gil Kaupp gives the final product a studio-polished sheen where every instrument occupies its place cleanly, from cymbal washes to deep bass foundations.
Heroes doesn’t pretend to reinvent the fusion wheel, and that’s not the point. Keller isn’t out to shock or subvert. Instead, he crafts a thoughtful, well-executed tribute, showing how those earlier influences continue to resonate in his own musical language. For fans of melodic modern jazz and refined fusion, this album is undoubtedly a rewarding listen.
https://www.instagram.com/rickkellersax/
Todd Herbert Presents “Captain Hubs”
New York-based saxophonist Todd Herbert reaffirms his place in the lineage of straight-ahead jazz with his latest release, “Captain Hubs.” Recorded in the summer of 2024 in collaboration with David Hazeltine, John Webber, and Louis Hayes, this ten-track collection is carried forward by a quartet of seasoned players who thrive in each other’s company.
The album opens with the title track, “Captain Hubs,” an electrifying number that sets the mood with its buoyant forward motion. Herbert’s sax leads with authority before yielding space to Hazeltine, who contributes with a crisp and virtuosic performance that’s immediately followed by a rapid drum solo from Hayes.
https://toddherbert.hearnow.com/captain-hubs
The tone remains upbeat until the quartet reaches their rendition of Fred Coots’ 1938 jazz standard, “You Go to My Head,” an evocative ballad that slows the pace and allows Herbert’s warm phrasing to shine. This track showcases Herbert’s reverence for the classics, contrasting with his innovative spirit.
Herbert’s original, “Temple of Silence,” is an interesting track, as the interlude with just drums and a soft piano really throws you off. Its deliberate pacing and interplay give the impression of a conversation among equals, and this is a track that’s definitely intended to challenge the listener.
The record closes with two more classics in the form of Wayne Shorter’s “Fee-Fi-Fo-Fum” and John Coltrane’s “Straight Street.” The former sets up the album for its close with its slow tempo while the hard bop of the latter brings the flair that makes this record memorable at its close.
The production throughout the record is understated, letting the music breathe. The mix captures not only the heft of Herbert’s sax but also the sparkle of Hazeltine’s piano and the clarity of Webber’s bass lines. Hayes’s drumming cuts through with sharpness and swing, anchoring the quartet without overwhelming it.
Captain Hubs does not seek to reinvent the jazz quartet, nor does it lean into avant-garde experimentation. Instead, it presents tradition as a living language, refreshed by players who know how to balance craft with spontaneity.
https://www.instagram.com/todd_herbert_/
Alias Wayne Presents ‘Butterfly’
Alias Wayne, the genre-blending project of singer-songwriter Ranzel X Kendrick, returns with Butterfly, a delicate two-minute ballad. For an artist that specializes in Americana, rock and blues, this latest single comes as a welcome surprise with its intimate focus and stripped-down instrumentation.
From the opening notes, Butterfly positions itself as a song of restraint, with a simple but evocative metaphor to make its impact. Acoustic guitar and gentle piano sketch out a framework that leaves plenty of space for Alias Wayne’s voice to sit upfront.
Unlike most ballads, there are no dramatic flourishes or verses where the lyrics soar. Instead, it feels like a fleeting moment captured before it slips away, much like its winged namesake. With its short runtime and minimal production, Butterfly only aims to underscore the fragile beauty of the lyric.
Wayne writes this song for his daughter, Madelyn, so the butterfly here is more than just a pretty image; it stands as a symbol for tenderness and the ephemeral nature of love. Alias Wayne delivers the lyrics with warmth, and the choice to keep the vocal delivery understated is part of the song’s charm.
Alias Wayne has built a reputation for traversing styles while keeping songwriting at the center. Earlier singles like “Too Far” leaned more into slow rock and Americana textures, while Butterfly stands as a quieter entry in that arc; a distilled moment of singer-songwriter craft that values atmosphere over experimentation.
Butterfly is a quiet vignette; a snapshot of beauty that rewards close listening. For fans of Alias Wayne’s more reflective side, it will feel like a natural continuation of his work. For newcomers, it offers a soft entry point into his world, best appreciated on a quiet evening, or folded into a more mellow playlist.
ONLINE:
https://www.ranzelxkendrick.com
https://www.facebook.com/RanzelXKendrick
https://www.youtube.com/@AliasWayne
Steve Rosenbloom Big Band Presents “San Francisco 1948”
Montreal-based saxophonist and composer Steve Rosenbloom stakes his claim to the long lineage of the big band tradition with his latest album, “San Francisco 1948.” The vibrant, nine-track collection of originals is both affectionate towards its swing-era roots while also being unmistakably contemporary in its outlook.
The album is performed by a powerhouse ensemble of Montreal’s finest jazz musicians. The interplay between the brass, reeds, and rhythm sections has that finesse that only appears when seasoned musicians lock in under the guidance of a confident bandleader.
The album’s title points to a specific era and place, but this is not an indication of the repertoire of the record. Instead, it invokes the spirit of the moment with its bustling energy, cinematic sweep, and dance-floor propulsion.
https://open.spotify.com/embed/album/392Hg3VCNpRGTlxMh8OHdP
The opener, “Samba for Esther,” sets a buoyant tone with Latin-inflected rhythms that transport you to the streets of Brazil. An elegant piano solo kicks in during the interlude, stealing the spotlight from the horns without compromising on the overarching theme.
The mood shifts with “Call from the Orient,” a longer piece running for over 7 minutes. This track draws inspiration from pentatonic scales to create an atmosphere of mystery where modal harmonies and layered orchestrations create space for reflection.
https://music.apple.com/ca/artist/steve-rosenbloom-big-band/1816161228
The title track, “San Francisco 1948,” stands as the album’s centerpiece. With a gentler tone and cinematic vibe, it captures Rosenbloom’s intent to conjure both place and history through orchestration.
The closing track, “Asher’s Song,” turns the tempo down even further, offering a moment of restraint and intimacy. It’s a testament to Rosenbloom’s musicianship, showing he’s just as comfortable writing softly as he is writing expressively.
The engineering on this record is especially tasteful, as it ensures that the music breathes. You hear not just the punch of the brass but also the subtler inner voices of the saxophones and keyboard coming through. The percussion cuts through just like it would in a live performance, forming the rhythmic backbone of the album.
San Francisco 1948 does not aim to reinvent the big band wheel, and neither does it attempt to position itself as avant-garde. Instead, it reframes tradition through the lens of contemporary composition. For those who still believe in the enduring power of a well-led jazz orchestra, this record is a reminder that the big band is far from a museum piece.
