Church Burglars Present ‘Welcome to Dreamland’ Album
With “Welcome to Dreamland,” LA-based alt-rock outfit Church Burglars delivers an album that feels deliberately out of step with the logic of modern rock. Sprawling, thematic, and unapologetically album-oriented, the record positions itself as a conceptual journey rooted in classic rock traditions but shaped by contemporary anxieties and reflections.
At its core, Welcome to Dreamland is a rock album, but not one that confines itself to a single stylistic lane. The band leans heavily on classic rock foundations with bold guitar riffs, muscular rhythm sections, and dramatic song structures while still allowing room for narrative ambition and thematic cohesion. The result is an immersive listening experience that rewards patience and full-album engagement.
Conceptually, Dreamland functions less as a literal place and more as a symbolic landscape; one that explores disillusionment, identity, and the uneasy pursuit of hope. Across its runtime, the songwriting grapples with personal and societal contradictions, often blurring the line between introspection and broader cultural commentary.
Following a purely instrumental overture, the album opens strong with “Dreamland,” an ethereal track that unfolds in contrasting movements, hinting at the sonic diversity to come. The musical complexity on these tracks is absolutely delightful, and “Invisible Man” stands out for its horn solos, heavy guitar riffs, and soaring vocals that never settle into a steady groove.
Among the album’s highlights is “King of Lies,” a track that encapsulates Church Burglars’ approach on Welcome to Dreamland. Combining sharp lyrical commentary with assertive rock instrumentation, the song stands out for its thematic boldness, capturing the album’s tension between critique and catharsis, and delivering a message that resonates without sacrificing musical drive.
01 Overture
02 Dreamland
03 Dr. Frankenstein
04 Invisible Man
05 One That Got Away
06 Intermission
07 King of Lies
08 Superman
09 Home
10 A Ballad For the Broken
11 Finale
12 Face of God
Production on Welcome to Dreamland strikes a careful balance between clarity and grit. The album sounds deliberately human: polished enough to feel intentional, yet raw enough to preserve the emotional weight of the performances. Guitars dominate the sonic palette, alternating between thick, driving riffs and more spacious, atmospheric passages that help shape the album’s pacing.
Overall, Welcome to Dreamland is a confident statement from Church Burglars. It’s an album that prioritizes theme, structure, and emotional continuity over fleeting hooks. Its blend of classic rock sensibilities with modern lyrical concerns results in a record that feels both familiar and purposeful.
ONLINE:
https://churchburglars.com/
https://www.instagram.com/churchburglars
https://www.facebook.com/people/Church-Burglars/61558007259706/
Alyson Faith New Single “Let’s Find Out”
With her latest single, “Let’s Find Out,” Alyson Faith delivers a warmly inviting slice of indie pop that explores the quiet thrill of emotional risk. Built around breezy melodies and thoughtful songwriting, the single continues Faith’s steady run of uplifting, human-centered releases while refining her sound.
What immediately stands out with “Let’s Find Out” is the light rock undertones that give it a timeless feel. The mood is unmistakably sunny and hopeful, but it’s reflective instead of sounding naive. Faith captures that familiar moment when caution and desire coexist, when you’re not entirely sure where something might lead, but you’re willing to take the step anyway.
https://open.spotify.com/album/4buVeIqEIxuJFX7iOvbfR
The instrumentation on this track plays a key role in sustaining the atmosphere with melodic guitar lines forming the backbone. These are complemented by warm synth textures that add a subtle retro glow, giving the song a comforting, almost nostalgic quality. The rhythm section keeps things buoyant and relaxed, providing just enough forward motion to maintain momentum without breaking the song’s easygoing spell.
The production on this track is delightfully crisp and uncluttered, with every element having room to breathe. The song’s melodic core and Faith’s vocal performance remain front and center, emphasizing clarity and warmth. Rather than seeking tonal perfection, the mix reinforces the intimate emotional tone while still sounding radio-ready.
– https://skopemag.com/2026/01/23/alyson-faith-shares-bright-feel-good-new-single-lets-find-ou
At the heart of “Let’s Find Out” is its songwriting. Co-written with Noel Cohen, the lyrics explore vulnerability with refreshing honesty. Faith balances self-awareness with romantic impulse, capturing the internal dialogue of someone who knows the risks of opening up but chooses curiosity over fear. The chorus is simple and memorable, functioning as both a hook and a quiet declaration of intent.
“Let’s Find Out” is a confident single that rewards repeated listens. It doesn’t chase trends or overwhelm with complexity, and instead succeeds by being melodic and emotionally grounded. Alyson Faith offers a song that feels both personal and universally relatable, taking a small but meaningful step forward in an already compelling catalog.
Listen to “Let’s Find Out” – HERE!
Stay connected with Alyson Faith for release updates and new music:
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The Heard Eye Presents ‘Point of You’
With their latest single, “Point of You,” California-based collective The Heard Eye reaffirms their status as one of the more intriguing voices in the independent music scene. Renowned for a sound that blends funk, rock, jazz, and global influences, the band has steadily carved a niche that balances groove with thoughtful musicianship, and “Point of You” continues this trajectory with undeniable flair.
Formed in California’s North Bay Area, The Heard Eye emerged from the fruitful collaboration between trumpeter/vocalist Paul Schneider and guitarist Hannes De Kassian, deepening their sound through collaborations both live and in studio. Their debut album Funkalypse and subsequent singles like “All Love,” “Only One Earth” and “Plenty Love” demonstrate a consistent commitment to genre dissolving and rhythmic exploration.
“Point of You” positions itself firmly within The Heard Eye’s funk-rock fusion ethos by riding a high-energy current, fusing punchy rhythms with layered instrumentation. From the first bars, the song establishes a groove that’s both danceable and musically rich; a hallmark of the band’s ability to make complexity feel accessible.
One of the song’s immediate strengths lies in its instrumental interplay, with the bass and drums anchoring the track with a tight pocket that keeps the momentum lively from start to finish. Guitars and other elements interweave over that foundation, creating a tapestry of sound that rewards repeated listens.
STREAMING:
https://open.spotify.com/track/6zTNa4LBouOEeDX8V0s0CT?si=7f633b3799ef437d
VIDEO:
https://youtu.be/ZEBBwniSnjU?si=m6zvSnTvdFaZWfuF
Unlike sparser pop production, The Heard Eye embraces textured layers, giving each section room to breathe without overcrowding the mix. This is a band that writes with the ensemble in mind, not just the lead line.
The production on “Point of You” reflects both polish and personality with the beats being kept crisp and prominent in the mix. The vocals sit confidently in the foreground, matched to a soundscape that supports rather than competes with it.
Given the craftsmanship they’ve shown with this track, it’s clear that “Point of You” is more than just another entry in The Heard Eye’s growing body of work. It’s a distillation of what makes the band compelling: groove, ensemble interplay, and production savvy. For those already drawn to The Heard Eye’s genre-defying approach, this single will feel like a reaffirmation of their promise, and for newcomers, a compelling invitation to dive deeper.
ONLINE:
https://theheardeye.com/
https://www.facebook.com/theheardeye/
Logan Metz Presents ‘Sunrise’
With his latest release, “Sunrise,” Logan Metz delivers a single that has as much philosophical weight as its emotional payoff. Released alongside its companion piece “Overrated,” this song is a warm, layered track that marries optimism with textured artistry.
At its core, “Sunrise” is all about using lyrical imagery to explore the subtle beauties of everyday life. It has a simplicity in both the writing and composition that becomes
one of the song’s strengths. It gradually builds a sense of emotional resonance much like a first light that dissolves shadows without fanfare.
“Sunrise” features a folksy bedrock arrangement anchored by gentle guitar work and an infectious drum beat. The single gains its depth from subtle jazz inflections which are exemplified by a beautiful saxophone solo that enhances the track’s emotional breadth.
SPOTIFY:
https://open.spotify.com/track/7HY8jzIfjfMFQuX4xsXWGA?si=b3d9698ec9a64bf9
-or-
BANDCAMP:
https://loganmetz.bandcamp.com/track/sunrise
Rather than adopting a single stylistic identity, Metz embraces a genre-bending approach that feels deliberate rather than scattered. This textured layering gives the song a richness that rewards repeat listeners, while also signaling Metz’s confidence in blending traditions rather than remaining confined to a single musical lane.
Metz’s vocal delivery in “Sunrise” is an exercise in understatement as he maintains a warm and conversational honesty in his tone. This approach is perfect for highlighting the song’s lyrical themes without drawing undue attention to technical showmanship.
The production of this single aligns with the song’s goals of staying clear, balanced, and textured. Instruments breathe around Metz’s voice instead of crowding it, and the mix foregrounds warmth over sharpness. The arrangement supports the thematic arc without ever overpowering it; a testament to smart production choices that prioritize the listener over gimmickry.
“Sunrise” doesn’t make a loud statement, but it doesn’t need to. Its appeal lies in careful craftsmanship: thoughtful lyrics, warm instrumentation, expressive vocals, and production that serves the song rather than showcasing it. In the context of Metz’s body of work, it signals an artist comfortable with the breadth of his influences and confident in his narrative voice.
ONLINE:
https://www.loganmetz.com/
https://www.instagram.com/loganmetzofficial
Tad Richards Presents ‘Listening to Prestige’ Book
In his book “Listening to Prestige: Chronicling Its Classic Jazz Recordings, 1949–1972,” Tad Richards provides what many in the industry have called a “valentine” to one of the most foundational independent labels in post-war jazz history. Richards’ work is a deep dive into the evolution of modern jazz, viewed through the lens of a label that served as a springboard for many of its great icons’ careers.
Richards is an author and jazz enthusiast who fully immersed himself in the genre during the 1950s, a period that sparked his lifelong passion for music. His deep involvement in modern jazz is evidenced by his ten-year project, the blog “Listening to Prestige,” where he listened to and documented every single Prestige recording session in chronological order starting in 2014.
This book grew out of that exhaustive study, blending his personal collecting history with a professional’s grasp of jazz’s historical succession and the bebop era. Richards’ contribution is significant because while labels like Blue Note have been extensively documented, Prestige has remained relatively overlooked in a historical sense.
Richards begins the narrative by highlighting that Prestige and other independent labels were willing to take risks on new talent and “uncompromising expressions” of jazz that major corporate labels often ignored. A defining characteristic of the label was Bob Weinstock’s preference for “pure spontaneity” in the studio. Prestige sessions often captured the raw atmosphere of the New York jazz scene, often resembling all-out jam sessions.
One of the most interesting segments of the book is the section on technical innovation, chronicling how the shift from 78 rpm records to the 10-inch and eventually 12-inch LP changed the music itself. Richards makes the classy choice of not focusing on artists alone, and dedicates a significant segment of this book to the pivotal role of recording engineer Rudy Van Gelder, whose suburban living room studio became the site of many of the label’s most historic sessions.
Among the artists covered, Richards highlights a Mount Rushmore of Modern Jazz that started their careers at Prestige, composed of Miles Davis, Sonny Rollins, and Thelonious Monk. While all these artists moved on to bigger and better-funded records, it was Weinstock’s vision that brought them into the spotlight.
Where Richards’ work truly shines is in its treatment of the label’s later years, a period often overlooked by jazz purists. He details the 1957 arrival of Mose Allison and Yusef Lateef as a turning point where the label began to outgrow its New York bebop roots.
As the 1960s took hold, Richards chronicles the rise of “Soul Jazz,” led by a new vanguard with the likes of Jack McDuff, Richard “Groove” Holmes, and Charles Earland.
Richards builds a compelling argument that these records, often dismissed by critics, were essential to the label’s survival and reflected the shifting cultural tastes of the Black American audience.
The book concludes with the 1971 sale of the label to Fantasy Records for $3.2 million. By then, the independent distribution model was crumbling, and Weinstock recognized that the era of the small, personality-driven jazz label was ending.
Ultimately, Listening to Prestige is an essential addition to any jazz library. Tad Richards has done more than just list sessions; he has mapped the soul of a label that was willing to be messy, immediate, and profoundly human.
https://sunypress.edu/Books/L/Listening-to-Prestige
Liam Horne Presents ‘Paradise’
Liam Horne continues his slow-burning ascent in the world of pop music with his latest release, “Paradise.” Horne’s breakout moment in the industry came long before stepping fully into the spotlight as a solo artist when he was featured as a co-writer on Justin Bieber’s 2012 hit, “Out of Town Girl”. That early success positioned him as a songwriter with a keen instinct for melody and emotional clarity; qualities that have remained central throughout his own releases.
Over the years, Horne’s solo catalogue, including tracks such as “Black and White,” “I Am,” “All on Me,” “Bartender,” and “Cars with Leather,” has established him firmly within the modern R&B lane. As an artist who favors sincerity over spectacle, Horne leans on smooth vocal delivery, clean production, and themes of self-worth, love, and emotional accountability.
Paradise feels like a natural continuation of that trajectory, while also suggesting a more confident and refined artistic voice. At its core, Paradise is a song about choosing depth over distraction. The songwriting centers on the idea of lasting connection; not the fleeting thrill of romance, but the quieter, more meaningful promise of consistency and emotional presence.
https://hypeddit.com/liamhorne/paradise
Rather than relying on lyrical dramatics, Horne opts for a measured, conversational tone. The lyrics unfold like a late-night confession, full of vulnerability and intention.
There’s a lived-in intimacy here, and it lines up perfectly with the understated RnB arrangement.
Horne’s vocal performance is one of the song’s strongest assets. His delivery is smooth and controlled, carrying emotional weight with a sincere tone and making the performance feel personal rather than performative. This restraint aligns well with his established vocal style and reflects a growing confidence in letting the music speak for itself.
From a production standpoint, Paradise benefits from a polished, contemporary finish. There are places where you can see the fine touches to harmonize the vocals and arrangement, but they do nothing to take away from the song’s emotional impact.
Paradise doesn’t attempt to reinvent Liam Horne’s sound, and refines it instead. The single reinforces his strengths as a songwriter and vocalist, showcasing an artist increasingly comfortable with emotional honesty and musical restraint. With a new album in the works, we can’t wait to see what Liam Horne has to share with us next.
https://www.instagram.com/liamhorne/
Michael Moody Presents “The Ecstasy of Love” Out March 20, 2026
Jazz vocalist Michael Moody delivers a recording that feels both timeless and quietly revelatory with his latest release, “The Ecstasy of Love.” Completely stripped of excess, this new album finds Moody returning to the core of the jazz vocal tradition: intimate storytelling, melodic flexibility, and deep respect for lyric.
At just over 36 minutes, The Ecstasy of Love is concise by design, yet it feels remarkably complete. Moody presents a dozen well-known standards with a breath of fresh air, proving that the classics are still capable of surprise. The result is an album that rewards close listening and emotional attention rather than spectacle.
This record draws heavily from the lineage of straight-ahead jazz vocalists and is dedicated to Carmen McRae. The classic influences inform both Moody’s phrasing and his willingness to subtly reconfigure melodies. ‘
The album opens with “The Nearness of You,” beginning with an unaccompanied vocal verse before the guitar and bass quietly enter. The performance is brief but telling, and Moody makes his point quickly, proving that concision can be just as powerful as expansion.
Thematically, The Ecstasy of Love explores romance as a lived experience filled with tenderness, conflict, and quiet hopefulness. This is especially apparent in his interpretation of “Easy to Love.” The familiar Cole Porter tune is stripped down to a simple bass and vocal duet, with its phrasing and pacing transformed in a way that’s unmistakably Moody’s own.
The album’s instrumentation is intentionally spare: voice, guitar, and bass. Moody is accompanied by Paul Bollenback on guitar and Neal “Sugar” Caine on bass, a duo whose restraint and sensitivity are essential to the album’s success. There are no drums, no horns, and no harmonic clutter: just space and nuance.
The production on The Ecstasy of Love is clean, warm, and unobtrusive, allowing the natural interplay between musicians to take center stage. Every note feels intentional, every silence meaningful. There is a sense that nothing has been added without reason and nothing has been left out by accident.
For listeners who value nuance, lyric intelligence, and emotional honesty, The Ecstasy of Love offers deep rewards. It’s proof that intimacy, when handled with this level of artistry, can be every bit as powerful as grandeur.
https://www.facebook.com/MusqicMinded
Carolyn Trowbridge Presents “Duchess of Sheba”
With “Duchess of Sheba,” Carolyn Trowbridge steps decisively into the foreground as a composer and bandleader, unveiling a piece that is both hypnotic and commanding. Serving as a key introduction to her Found Memories project, the single distills years of cross-genre experience into a sound that feels deliberate, immersive, and richly transportive.
At its core, “Duchess of Sheba” is driven by vibraphone, Trowbridge’s primary voice, which glows with a warm, resonant shimmer throughout the track. Rather than functioning as a decorative layer, it acts as the melodic anchor, unfolding phrases that feel ritualistic and cyclical. The use of the pentatonic scale and the overall oriental sound of the single places is squarely in Ethio-jazz traditions, where groove and mode take precedence over overt harmonic complexity.
The instrumentation is spare but deeply effective as flute lines drift in and out of the arrangement, offering an airy counterpoint to the vibraphone’s metallic clarity. The guitars are used more for subtle rhythmic propulsion than lead statements, while bass and drums lock into a fluid, understated groove that maintains momentum without ever demanding attention.
Stylistically, “Duchess of Sheba” sits at a crossroads between contemporary jazz, Ethio-jazz, and modern Exotica-influenced soundscaping. There’s a cinematic quality to the arrangement; a sense of place and atmosphere that evokes mid-century exotica. But instead of sounding nostalgic, Trowbridge reframes those influences through a modern jazz lens, using texture and tone as narrative tools.
While Trowbridge is long respected as a versatile percussionist, her previous output often emphasized color, texture, and interplay within broader group contexts. On
“Duchess of Sheba,” however, she asserts a clearer compositional identity. The vibraphone no longer decorates the margins; it leads the story.
What’s particularly striking is the track’s discipline. Solos are integrated seamlessly into the ensemble fabric rather than spotlighted for virtuosity’s sake. The focus remains on mood, motion, and collective momentum: a choice that reinforces the track’s hypnotic character and highlights Trowbridge’s maturity as a composer.
“Duchess of Sheba” is a confident and immersive statement that bridges global jazz influences with contemporary sensibilities. Subtle, groove-driven, and richly atmospheric, the single suggests that Trowbridge’s upcoming album, “Found Memories,” will be less about genre boundaries and more about crafting spaces listeners can inhabit.
https://www.carolyntrowbridge.com/listen
Doug MacDonald Trio Presents “Live In Beverly Hills”
With “Live In Beverly Hills,” guitarist Doug MacDonald opens a time capsule and finds it still glowing. Recorded at the Beverly Hills Art Show on May 19, 2012, and released more than a decade later, this previously unreleased live set captures MacDonald alongside bassist Lou Schoch and drummer Billy Paul in a moment of rare alignment.
Despite its age, the album doesn’t sound dated, and arrives as a vibrant jazz statement that feels as immediate and alive as the night it was played. At its core, Live In Beverly Hills is a classic guitar trio jazz album, rooted firmly in the mainstream style while leaving ample room for spontaneity and personality.
https://www.instagram.com/p/DS3wK1Gkcat/
The album’s repertoire reflects both respect for the jazz canon and confidence in original material. It opens with a buoyant take on Luiz Bonfa’s classic, “Samba De Orfeo,” setting the tone with a rhythmic lilt and melodic clarity that immediately draws the listener in. The guitar work here is fluid and lyrical, while Billy Paul’s drumming adds crisp, conversational commentary beneath the melody.
Two MacDonald originals, “Unimpressed” and “Mall Blues,” anchor the album’s compositional identity. “Unimpressed” is a minor-key piece characterized by its toned-down guitar and bass solos, offering a spacious framework for improvisation. “Mall Blues,” by contrast, is a compact, up-tempo riff-based tune that highlights the trio’s tight rhythmic coordination and instinctive pacing.
The standards are handled with equal care and imagination. One of the album’s most distinctive moments comes with “Early in the Morning,” where bassist Lou Schoch steps forward as a blues vocalist. “Yesterdays” closes the album with a passionate, reflective reading that underscores the trio’s emotional range.
What truly elevates Live In Beverly Hills is the chemistry between the musicians. MacDonald, Schoch, and Paul shared a long musical friendship, and that familiarity translates into an intuitive, almost telepathic rapport. Paul’s drumming is alert and responsive, while Schoch’s bass lines are melodic and grounding, leaving space for MacDonald’s guitar to soar.
Live In Beverly Hills stands as a compelling reminder of Doug MacDonald’s strengths as a guitarist, composer, and bandleader. It is a record built on swing, trust, and deep musical conversation: rewarding close listening while remaining immediately accessible.
https://www.dougmacdonald.net/
Circus Mind Presents “Whole Lotta Nuthin”
Circus Mind has long specialized in blending soul, funk, rock, and Americana into something warm and lived-in, and this latest release finds them doubling down on that ethos. With “Whole Lotta Nuthin,” The New York–based band delivers a single that feels deceptively relaxed while carrying a quietly pointed message beneath its groove.
At its heart, “Whole Lotta Nuthin” is a song about authenticity in an age of decadence and chasing trends. The title suggests emptiness, but the track flips that idea on its head, framing “nuthin” not as absence, but as a rejection of artificial gloss.
Circus Mind sticks to their traditional style by avoiding heavy-handed commentary. Instead, they lean into direct, conversational lines that feel grounded and intentional. This restrained and straightforward approach allows the message to settle naturally into the groove, rather than standing apart from it.
That groove is the track’s backbone, as “Whole Lotta Nuthin” unfolds over a laid-back rhythm, driven by a supple bassline and tight drums. The arrangement draws heavily from vintage soul and funk, as guitar accents punctuate the rhythm without overcrowding it. There’s a tasteful horn solo that kicks in as the interlude, adding color and lift to the single.
Rechler’s vocal performance is a central strength. His delivery is smooth, expressive, and grounded, carrying an easy confidence that suits the song’s message. He doesn’t oversell the emotion and lets phrasing and tone do the work.
The production on this track favors warmth over polish, and the mix allows instruments to breathe, preserving their natural character rather than sanding down every edge.
The vocals sit comfortably in the mix, close enough to feel personal, while being supported by an ensemble that sounds organic.
Taken as a whole, “Whole Lotta Nuthin” is a quietly confident release that plays to Circus Mind’s strengths. It doesn’t attempt reinvention, but instead refines what the band already does well. In doing so, it makes a compelling case that sometimes “nothing” can mean a whole lot more than it seems.
https://linktr.ee/circusmindband
Vinyl Floor Present ‘Balancing Act’
With their sixth full-length release, “Balancing Act,” Danish melodic rock outfit Vinyl Floor delivers one of the most thematically cohesive albums of their career. On this record, the Copenhagen-based brothers Daniel Pedersen and Thomas Charlie Pedersen refine the sound they have patiently developed over nearly two decades and push it into richer, more nuanced territory.
At its core, Balancing Act is exactly what its title suggests: an album built around emotional, artistic, and societal equilibrium. Generously colored by symphonic, progressive, and electronic elements, it doesn’t fit into one particular niche. However, Vinyl Floor’s foundation remains classic, with drums, bass and guitars forming the backbone with lush strings, subtle synthesizers, and layered vocal harmonies elevating the arrangement.
The band opts for a warm and vintage-leaning sound on this record that’s slightly reminiscent of British 60s pop-rock. While the influences are evident, nothing sounds dated; a testament to the final mix and master by Søren Vestergaard at The Shelter. Recorded live at Studio Möllan in Malmö with Swedish producer Emil Isaksson, the basic tracks have an immediacy and cohesion that give the songs room to breathe and strike a fine balance between polish and presence.
The lyrics of Balancing Act are often surreal and rich in imagery with no straightforward message. Themes of insecurity, false promises, creative doubt, and personal resolve recur throughout the album, giving it a reflective, sometimes mystical tone. Importantly, the songwriting avoids grand statements in favor of smaller observations.
The lead single, “Mr. Rubinstein,” establishes the album’s dramatic scope. Built around a slow-burn arrangement of piano, strings and measured rhythm, the song explores the uneasy relationship between artist and critic, ego, and self-doubt.
Meanwhile, “Puppet Laureate” is a more upbeat track that is more traditional in its sound with a guitar and horn-driven arrangement. The title track, “Balancing Act,” is the album closer, and takes a darker note as it critiques the futility of playing the balancing act that is life.
Across all thirteen tracks, Balancing Act stands as a mature and thoughtfully crafted album, showcasing Vinyl Floor at a creative high point. It successfully balances classic melodic rock sensibilities with orchestral depth and modern production. Rich in atmosphere and emotional intelligence, the album rewards attentive listening and confirms Vinyl Floor’s place as one of Denmark’s most quietly compelling rock acts.
Facebook: https://da-dk.facebook.com/vinylfloorband
Twitter: @vinylfloorband
Instagram: @vinylfloorbanddenmark
Carl Clements Presents ‘Retrospective’ Out March 1, 2026
Veteran jazz composer Carl Clements commands your attention with his latest project, “Retrospective,” a jazz quartet that showcases the wealth of experience he’s amassed over the years. With Retrospective, recorded with the Real Jazz Trio, Clements turns his experienced ear toward both reflection and reinvention, offering an album that bridges tradition and exploration in subtly compelling ways.
Boston-based but internationally active, Clements’s musical life spans decades of saxophone mastery, world music study, and original composition. A Ph.D. in Ethnomusicology and a lifetime of study with luminaries across jazz and Hindustani classical music lay the foundation for an approach that comfortably treads between modal jazz, post-bop, world fusion, and improvised music. His earlier quartet album A Different Light, released on Greydisc in 2024, exemplified this; folding North Indian bansuri and Asian melodic inflections into modern jazz frameworks with admirable fluency.
Like his previous works, Retrospective stays rooted in modern jazz but leans into the acoustic interplay of a classic trio setting; saxophones and flute up front, supported by piano, bass, and drums. This ensemble format is a natural evolution of Clements’s prior quartet work, but the trio framework l brings a more integrated group voice, where each player anchors and propels collective improvisation.
The album opens with “One for Joe,” a lively piece where Clements’ virtuosic saxophone playing takes the forefront. The call and response between him, Johannes Schaedlich on bass, and Jean-Yves Jung on piano keeps the single fresh, and the album opener passes through like a breeze.
The lengthier “Mobius” proceeds with gravitas, taking a weightier and more measured approach. The wind instruments are more melodic and song-like in this track, with Jens Biehl on drums being responsible for driving it forward.
But the standout track is the closer, “Kadam,” which showcases Clements’ North Indian flute training. The flute takes the spotlight and weaves together the accompaniments into a harmonious melody that combines jazz and Hindustani classical music to create something more than the sum of its two parts.
The production on every track is immaculately done, with enough polish to enhance the listening experience without sounding overdone. The placement of the drums in the mix is especially smart as it never overpowers the melodic lines, but still sounds crisp and powerful.
Retrospective may not be a nostalgia piece in the conventional sense, but its title feels apt: the album distills Carl Clements’s artistic identity into a dynamic trio setting that honors his past while embracing fresh sonic possibilities. Fans of modern jazz with world-inflected melodies, and masterful saxophone storytelling will find much to savor here.
Ron Rieder Presents ‘Compositions in Blue and Other Hues’
Massachusetts-based composer Ron Rieder makes a decisive turn toward straight-ahead jazz with his latest release, “Compositions in Blue and Other Hues.” Featuring a collection that is as rooted in tradition as it is animated by personal expression, this new album strips away the clave and replaces it with rhythms that swing, bop, and breathe.
At its core, Compositions in Blue and Other Hues is a study in jazz color. The title itself signals Rieder’s intent, with “blue” functioning both as an emotional reference point and as a stylistic anchor. The “other hues” suggest a broader palette of tempos, and textures across eleven original compositions,
https://ronrieder.hearnow.com/compositions-in-blue-and-other-hues
Stylistically, the album sits firmly in the straight-ahead tradition as hard bop, blues, and swinging post-bop forms dominate the soundscape. Yet it never sounds academic or reverential. Rieder’s writing favors clear melodic ideas and logical harmonic movement, providing fertile ground for improvisation while maintaining strong compositional identity.
The album’s sequencing reinforces its conceptual coherence, as each track feels like a distinct shade within a larger spectrum. from the earthy blues inflection of “Peach Blossom Blues” to the playful retro imagery suggested by “Broadway Boogie,” Rieder demonstrates that he’s not afraid of experimenting. Even the brief “Interlude: Amingus Amonkus” functions as a tonal palate cleanser, nodding subtly to jazz lineage while keeping the album’s momentum intact.
Much of the album’s strength lies in the caliber and chemistry of the ensemble. The quintet features Yaure Muniz (trumpet), Mike Tucker (tenor saxophone), Maxim Lubarsky (piano), John Lockwood (bass), and Mark Walker (drums), bringing a collective energy that elevates the material beyond the page.
Produced by Rieder himself, the album benefits from a clean, natural production aesthetic. The mix favors clarity and balance, allowing each instrument its own space while preserving the feeling of a live ensemble in motion.
Ultimately, Compositions in Blue and Other Hues succeeds because it reaffirms straight-ahead jazz as a living, expressive form. Rieder’s compositions invite the listener in, and showcase the kind of musicianship that thrives on trust, interaction, and shared intent. It’s a reminder that sometimes the deepest colors emerge not from expansion, but from refinement.
Breaking Weather, Breaking Free: Eleyet McConnell Aim for the Open Sky with “The Horizon”
There’s a moment in every good rock song where metaphor stops being decorative and starts being necessary. On “The Horizon,” Eleyet McConnell understand that instinctively. This is not a song that tiptoes around struggle or dresses resilience up in clever irony. It plants its feet, looks straight into the wind, and decides to push forward anyway.
For a husband-and-wife duo known largely for Americana warmth and emotional nuance, “The Horizon” marks a deliberate shift. It is their most rock-oriented track to date, leaning hard into classic rock DNA—big guitars, forward momentum, and a chorus built to lift rather than console. You can hear echoes of heartland rock and late-’70s resolve here, the kind of sound that once believed songs could help people stand back up.
The opening verse sets the tone with plainspoken unease: storms looming, doubt creeping in, questions without answers. It’s the language of someone who’s tired of pretending things are fine. But the genius of the song lies in how quickly it refuses to stay there. By the time the chorus hits—“I’ll take it head on; that’s my way”—the track has already made its decision. This is defiance as a muscle memory, not a pep talk.
What makes “The Horizon” work is its lack of self-pity. The lyrics acknowledge pain, control, and escape without drowning in them. The second verse sharpens the edge, shifting from survival to agency—“From now on I’m the one in control.” That line isn’t aspirational; it’s declarative. The bridge seals it, burning daylight, breaking chains, unlocking doors. No poetry workshop tricks here—just forward motion.
Musically, the song carries that message with conviction. The guitars are muscular but not flashy, the rhythm section steady and insistent. Everything serves the climb. There’s restraint in the arrangement that keeps the track grounded, even as the chorus aims skyward. It feels built for live rooms and open highways rather than playlists and trends.
Eleyet McConnell’s strength has always been authenticity, and “The Horizon” expands that truth rather than abandoning it. Winning a Josie Music Award in 2024 confirmed their credibility in the independent scene, but this track suggests something else: confidence. Confidence to get louder, to get tougher, to trust rock’s oldest promise—that sometimes the best way through the storm is straight ahead.
“The Horizon” doesn’t chase the sun. It earns it.
–David Marshall
MAJA JAKU Presents ‘BLESSED & BEWITCHED’
European jazz icon Maja Jaku steps confidently onto the American jazz stage with her fifth studio album, “Blessed and Bewitched.” Recorded in Brooklyn and released on Origin Records, this album is a carefully curated statement; balancing a range of emotional themes across originals and standards.
Intimate and assured in its delivery, Blessed and Bewitched It is not a radical reinvention of the jazz vocal tradition, but rather a deeply felt extension of it. It’s shaped purely on the strength of the ensemble, featuring strong compositions and thoughtful production.
At its core, Blessed & Bewitched is a modern jazz vocal album rooted in classic sensibilities. Jaku’s approach to singing is cinematic and image-driven, and she often phrases with patience, allowing silence and space to heighten the emotional impact. There’s a quiet intensity to her voice that’s sensual without excess, making the album feel contemplative and personal.
https://www.prestomusic.com/stream/album/9812411
The instrumentation reflects a classic jazz quartet-plus configuration, elevated by the caliber of the musicians involved. Jaku’s group is highly responsive, and clearly understands how to frame a vocalist without crowding her. Alan Bartuš’ piano provides harmonic warmth and narrative momentum, while Michael Rodriguez emerges as a key voice on the album; his trumpet lines often acting as a second narrator.
The album opens with “The Witch,” a dark, atmospheric piece that immediately establishes mood. Jaku’s voice is understated but magnetic, drawing the listener in with subtle inflections rather than overt power. It’s a fitting introduction, suggesting mystery and inner strength while setting the album’s tonal palette.
From there, “I’m a Queen” shifts the energy decisively. Built on confidence and determination, the track allows Jaku to stretch rhythmically and emotionally, incorporating moments of scat singing and playful assertion.
The inclusion of standards is handled with care and intention, with “Never Let Me Go” being rendered with warmth and emotional immediacy, as Jaku’s phrasing breathes new life into familiar material. The album closes with “Everything Must Change,” delivered with dramatic pauses and out-of-tempo phrasing that underscore the song’s sense of inevitability and acceptance.
Ultimately, Blessed & Bewitched positions Maja Jaku as a jazz vocalist of depth and discernment. It’s an album that rewards close listening, built on nuance rather than spectacle. This is a well-crafted artistic statement that highlights Jaku’s expressive voice, strong compositional instincts, and ability to lead a world-class ensemble.
Dave Stryker Presents ‘Blue Fire The Van Gelder Session’ Out January 9, 2026
Rudy Van Gelder’s Englewood Cliffs studio is known for its innumerable catalogue of iconic contemporary jazz records, and guitarist Dave Stryker adds his name to that elite lineage with his latest record, “Blue Fire: The Van Gelder session.” For Stryker, this album represents the fulfillment of a long-held dream. Having come up through the ranks alongside legends like Jack McDuff and Stanley Turrentine, Blue Fire is a statement of his personal evolution.
At its core, Blue Fire is modern jazz steeped in the organ trio tradition, a format that demands trust, and responsiveness. Without a bass, rhythmic momentum must be shared, and Stryker’s trio thrives in that openness. The album is a masterclass in texture and conversation, seamlessly blending hard-bop agility and soul-jazz warmth.
https://www.allmusic.com/album/blue-fire-the-van-gelder-session-mw0004722281
The opening track, “Van Gelder’s Place,” immediately signals the theme of history and connection, setting a reflective tone that acknowledges the studio itself as an unseen fourth member. From there, the record unfolds like a guided walk through different emotional and rhythmic spaces, all unified by the trio’s shared language.
Stryker is joined by his longtime collaborators Jared Gold on Hammond organ and McClenty Hunter on drums, a trio that has worked together for roughly two decades. That longevity is audible as there is no sense of hierarchy here: only collective momentum.
Stryker’s guitar tone is warm and articulate with his solos really shining through on the title track “Blue Fire.” Throughout the album, his performances unfold in long, conversational lines that feel spoken rather than announced.
Gold’s organ work is both foundational and exploratory, and while he stands out on “Waiting for Ruby,” his real strength is to stay relevant even when he isn’t in the spotlight. The bass lines, harmonic color, and expressive solos that push against the edges of the groove add a depth and character that can only be produced with experience.
Hunter, meanwhile, is the trio’s quiet engine: agile, alert, and constantly shaping the music’s direction without ever dominating it. The trio’s interplay is especially effective in Van Gelder’s famously resonant room as notes hang just long enough to breathe, allowing ideas to develop naturally rather than rush forward.
Blue Fire: The Van Gelder Session doesn’t aim to be a flashy record. Its strength lies in clarity, connection, and craft. This is jazz as a lived experience; shaped by decades of playing, listening, and collaboration, captured in a room that has heard it all before.
IRIEspect Presents “Lost In Time”
Long Island-based Latin/Reggae collective IRIEspect delivers a clear statement of artistic growth with their latest EP, “Lost in Time.” Drawing from reggae’s deep-rooted traditions while confidently branching into dancehall, Latin, and hip-hop rhythms, the five-track project showcases a band pushing past familiar territory.
At its foundation, Lost in Time is unmistakably reggae. The off-beat skank, warm basslines, and relaxed rhythmic pulse remain central, but IRIEspect uses these elements as a springboard rather than a constraint. Their approach is clear from the start, as “Want Me Too” leans into breezy island vibes, accented by steel pans and bright melodic textures that immediately set an inviting tone.
Instrumentation is one of the EP’s biggest strengths, as the band weaves together brass sections, melodic keyboards, and dynamic rhythm changes with ease. “Lost (feat. Nick Corredor)” stands out in particular, featuring soaring horn arrangements amidst a generally relaxed flow, displaying a nuanced understanding of song dynamics.
On the band’s cover of “Me Gustas Tu,” they heavily incorporate Latin influences with multilingual vocals and traditional drums to give the global superhit a unique flavor. Closing track “Dangerous” injects some rock energy into the EP, ending it on a gritty, high-octane note that contrasts sharply with its more laid-back moments.
Songwriting across Lost in Time reflects a noticeable step forward for the band. While IRIEspect have always excelled at feel-good, groove-driven tracks, this EP shows greater emotional and compositional range. Hooks remain catchy and accessible, but there is more intention behind the arrangements and lyrical delivery.
The great thing about this album is that the production achieves an effective balance between polish and authenticity. The mix is clean and well-defined, allowing each instrument space to breathe without sacrificing the organic feel of a live reggae band. Bass and drums are particularly well-handled, providing a solid backbone for the group’s genre-blending ambitions.
Lost In Time succeeds because it feels both adventurous and grounded. It respects reggae tradition while refusing to be boxed in by it, offering a vibrant, well-crafted EP that highlights IRIEspect’s growth as songwriters, musicians, and producers.
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Rebekah Snyder Presents “Up on the Housetop”
Rebekah Snyder ushers in the holidays with warmth and sincerity through her latest single, “Up on the Housetop.” Drawing from the deep well of Americana and country tradition that has long informed her songwriting, Snyder transforms this Christmas standard into a beautiful family-centered moment.
In a time when holiday singles are characterized by glossy pop maximalism, Snyder’s approach is refreshingly sincere. At its core, “Up on the Housetop” remains faithful to the song’s enduring narrative: Santa’s rooftop arrival, the thrill of anticipation, and the childlike wonder that has kept the tune alive for more than a century.
Snyder doesn’t attempt to modernize the lyrics or reinvent the structure, and instead reframes the song emotionally. Recording the track with her three children, who contribute vocals, playful rhythmic clicks, and enthusiastic “ho ho ho” refrains, she leans into the innocence and communal spirit embedded in the original composition.
Musically, the arrangement is rooted in classic country and Americana textures, and features a lively mix of acoustic guitar, piano, fiddle, banjo, and drums. A fiddle-led bounce propels the song forward, while a subtle rhythmic swing keeps it buoyant and festive. One of the track’s most distinctive flourishes is a playful blue yodel, reinforcing Snyder’s affection for traditional forms.
Snyder has proven time and time again that she’s an amazing vocalist, but on this track, her performance is relaxed and inviting. It’s not meant to be a perfect single, just an enjoyable one. The slight rough edges are precisely what give the recording its emotional credibility, and it feels like an organic moment you’d have in the living room.
When placed alongside contemporary holiday singles, this track stands apart through its restraint. It aligns more closely with nostalgic country and Americana Christmas recordings, where tradition takes precedence over spectacle.
Ultimately, “Up on the Housetop” succeeds not by reinventing the holiday song, but by reminding listeners why the classics endure in the first place. It’s a modest, heartfelt release, and in a crowded season of Christmas singles, Rebekah Snyder’s offering stands out quietly, like a warmly lit window on a winter night.
https://www.instagram.com/rebekahsnyderofficial/
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Jude Gwynaire New Album ‘Stars, Rocks and Cars’
UK-based composer and author Jude Gwynaire delivers one of his most expansive and outward-facing albums to date with “Stars, Rocks and Cars.” Ambitious in its undertaking, fans of Gwynaire’s earlier work will note that this record is rooted in his long-standing experimental instincts while being noticeably more song-driven.
Thematically, Stars, Rocks and Cars is preoccupied with movement and observation. It attempts to capture the mood of driving through cities, passing landmarks, fleeting encounters, and moments of reflection caught between destinations. There’s a strong visual quality to the composition, and even without lyrics, it evokes images of suburban sprawl, and nocturnal introspection.
Stars, Rocks and Cars sits comfortably in the orbit of cinematic alternative music, but it resists being boxed into a single lane. There are echoes of classic instrumental rock, touches of psychedelia, and moments that feel almost soundtrack-like in their pacing and tonal shifts.
The album opens with “Night Drive Through My City Notorious,” one of its strongest statements. A thumping, jazz-inflected nocturnal journey, the synths create bright woodwind textures and piano chords set to a jagged, urgent rhythm. Its retro character and dynamic pacing make it an instant attention-grabber and a standout moment on this album.
“Star-Spangled Alice” is one of the heavier moments on the album and probably it’s most visceral track. This is Gwynaire in full rock-out mode letting loose with his Epiphone Les Paul pushed through a Big Muff pedal. The track is raw, unapologetic, and thrillingly direct; a sharp contrast to the album’s more delicate or atmospheric moments.
The album closes with “The Church of the False Martyr,” a deeply unsettling track that features ethereal chants, church bells, and organ to create a chilling, otherworldly atmosphere. It’s an effective and memorable finale that reinforces the album’s fascination with night, shadow, and mood.
The production on this album is perfectly done, highlighting the musicianship without overshadowing it. The arrangements feel intentional and paced while the sound is polished but not overly glossy, preserving a sense of intimacy and grit.
Stars, Rocks and Cars is a confident and engaging step forward for Jude Gwynaire. It balances experimentation and structure, creating an album that feels cinematic, personal, and thoughtfully assembled. Longtime listeners will not be disappointed with this evolution, and for newcomers, it may well be the most approachable entry point into his catalog so far.
Tobin Mueller Serves Up ‘Mueller’s Wheel: The History of Jazz’
Enjoy some bop-funk as Tobin Mueller invites us to take a spin on ‘Mueller’s Wheel: The History of Jazz’. With elements of jazz fusion, funk, swing and bop, Tobin Mueller will excite your ears with this lively sound. This album is a collaboration between keyboardist Tobin Mueller and saxophonist Woody Mankowski. Many of the tracks are done by a quartet while some feature a full ensemble and duets. With influences that range from Count Basie, Charlie Parker and Lester Young to Herbie Hancock, The Brecker Brothers and Weather Report, ‘Mueller’s Wheel: The History of Jazz’ will not disappoint.
On the song “The Long Sleep”, standout piano playing can be heard that catches your attention immediately. On “Seafood Gumbo”, enjoy this delicious mix that’s a real mover and shaker from beginning to end. You can also SKOPE out the official video for “Seafood Gumbo” right here: https://www.youtube.com/watch?v=uN3tWlbtPJw. It’s time to head into “Saddle Shoe Sally” where you can’t help yourself and will want to dance, so don’t fight the feeling! Get ready to consume “Oasis On The Rocks” where an intoxicating beat & melody is shaken not stirred. Listen responsively and enjoy this musical concoction that is “Oasis On The Rocks”. I am really enjoying the sax playing and overall groove on “Lost In The West Village” as this track truly shines. The following composition “Fusion Of Minds” brings an instant connection and inviting sound that can’t be denied. The audience will be “Struttin’ Up Bourbon” next where a pleasing rhythm and easy-going tempo leads the way. There is an exotic element in place on “Windowshade” that is out of this world and this aspect will keep you engaged throughout the song. Moving on, “Mueller’s Wheel” is turning and perfectly balanced making for one fun and memorable ride. Prepare to embark on a strong ‘n’ steady stroll to “Cliff’s Edge” where things are certainly looking UP. Tobin delivers a flavorful and spirited performance on “Deconstruction of a Glance” that will make you feel good inside & out. Who’s ready to take a healthy trip to a land of funky, fresh notes? If you answered yes, then “Acid Hopping” is just the right medicine for your musical palette. Now, it’s time to “Rock The Baby” and jam out without a care in the world! Tobin Mueller is bringing the noise and not holding back on “Let The Rumpus Begin”. On “Prestigitation”, the listener receives a delightful mix that offers a variety of rich elements to consume. Get ready to open “Pandora’s Box” and handle with care as you enjoy all of the goodies inside. On “Escaping The Fray Zone”, sheer wonder and intriguing dynamics will keep you on the edge of your seat from beginning to end.
Tobin Mueller is all about making joyous music that people can vibe to and connect with and ‘Mueller’s Wheel: The History of Jazz’ is your ticket. Tobin keeps it loose and fun while also respecting and honoring the jazz greats that came before him. These qualities are what makes this album a must listen proving that Tobin is a true artist with a real vision. Tobin Mueller isn’t reinventing the wheel at all, but he is creating something special and innovative with Mueller’s Wheel: The History of Jazz’.
By Jimmy Rae
