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Album Reviews

This section includes a running list of the music reviews we publish. We also publish a lot of interviews, curate playlists, and podcast. Want to submit your music?

Apropos Turns New Single “10th Floor” into a Soulful Escape

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At first glance, or perhaps first listen, you might be tempted to file Apropos’s latest single, “10th Floor,” alongside the growing wave of artists reviving classic soul through a contemporary R&B lens. Warm keys, smooth grooves, expressive vocals … the familiar ingredients are all there. But spend a little longer in its company, and something more interesting begins to emerge.

This isn’t simply an exercise in nostalgia, nor is it an attempt to modernise vintage soul for a new audience. Instead, Apropos creates a space where the two ideas exist comfortably together, allowing classic songwriting instincts and contemporary production to complement one another.

Between Genre and Geography – Ammar Farooki’s Latest Album Release “Twelve”

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Trying to place Ammar Farooki’s Twelve neatly inside a genre feels a little like missing the point entirely. Yes, there are elements of indie folk here, flashes of singer songwriter intimacy and the occasional swell of indie rock energy, but none of these labels quite hold for long. The record keeps shifting just enough, never dramatically, never for effect, to remind you that it is not trying to sit still for anyone.

What becomes clear very quickly is that Farooki is not writing within genre so much as moving through it. Songs unfold like conversations rather than constructions, guided more by emotional instinct than stylistic boundaries. There is a looseness to the way the album breathes, but it’s a deliberate one. An openness that allows ideas, textures and feelings to surface without being overworked into submission.

“Why Don’t You Do Right?” – jen M. Turns a Jazz Standard into a Modern Blues Soundscape

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“Why Don’t You Do Right?” sits in that fascinating space between reverent jazz standard and full-on re-imagined blues theatre. It’s an interesting place to work from because the original track carries so much cultural weight and familiarity. But jen M. isn’t interested in simply recreating nostalgia. Instead, she reshapes it into something textured, immediate and emotionally grounded, where groove, atmosphere and lived-in details matter just as much as melody or lyrics.

What makes this version so compelling is the way it leans into imperfection as a kind of truth. The scratch of washboard, the soft thump of bongos, the slightly weathered and almost haunted upright piano discovered in the studio corner – all of it creates a sound world that feels less like a polished “recording” and more like a moment you’ve accidentally stepped into. Bobby Floyd’s piano work lends the track with intuitive elegance, while G-Louis adds a twangy gitjo line that keeps everything suspended between blues, jazz and something harder to define.

Missing the Moment Before It’s Gone: George Collins Finds Beauty in Life’s In-Between

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Just as I was starting to think that songs about parenthood had said everything they needed to say – filed somewhere between sentimentality and well-meaning nostalgia – along comes George Collins Band with “My Tomorrow Is Already Missing You Today.” And, fair enough, it stops you in your tracks a bit.

Where the Music Flows – Raffaele Scoccia’s New Release “La Rivière des Choses”

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It is one thing to sit with a piece of music and let it wash over you; it is another to feel as though you are being quietly let in on its origin, its intention, the emotional current that carried it into being. That is where the real magic happens. Which is why “La Rivière des Choses” from Raffaele Scoccia holds such a gentle but persistent pull. The sense that this is not just a collection of compositions, but a reflection in motion.

The title itself – translated as “The River of Things” – offers a clue. There is an inherent transience at play here, a suggestion that these pieces are less about fixed ideas and more about passing moments, shifting thoughts, the quiet drift of memory and meaning. Scoccia doesn’t so much present melodies as he allows them to surface, to move, to dissolve and reform, much like the river he evokes.

Indie Rock Finds Its Depth in A Is For Atom’s New Release “Out of the Blue”

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Indie rock isn’t always the place you go looking for nuance. Too often, it settles into familiar shapes with its chiming guitars, introspective lyrics and just enough atmosphere to pass for depth. It’s a sound that found its footing years ago and, in many cases, hasn’t strayed too far since.

But every so often, an artist comes along who understands that the form is only the starting point, not the destination. A Is for Atom is one such project, and Out of the Blue is a quietly compelling reminder of that.

It would be easy to frame this as a comeback record, given the years between releases, but that doesn’t quite capture what’s happening here. This isn’t about returning with a bang or reinventing the wheel. Instead, Mike Cykoski uses Out of the Blue to explore something more subtle – the shifting emotional terrain of adulthood, where relationships evolve, identities blur and certainty becomes harder to come by.

A Lifetime in Motion – Bruce Rosenblum’s New Album “Never Too Late”

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There’s something quietly disarming about the title Never Too Late – it reads at first like a reassurance, almost a slogan. But in Bruce Rosenblum’s hands, it becomes something much more reflective.

The album, released today, is the culmination of a long arc rather than a comeback story in the usual sense. It’s not about return so much as continuation: threads picked up, set aside, and finally woven together on his own terms.

Rosenblum’s path into this record is unusually layered, and that history is essential to understanding the music’s depth. He began studying piano at age six, and by his teen yeras was already writing songs and performing in the Boston folk scene in a duo called Yamakraw with Paul Chiten, later a multi-platinum songwriter and Emmy winning composer. The group played coffeehouses and colleges throughout the late 1960s and early 1970s, sharing stages with artists such as Livingston Taylor, Phil Ochs and Steeleye Span.

Interview: BOBBO BYRNES

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There’s a certain kind of artist who never quite fits the industry mold. For decades, guided more by instinct than infrastructure, Bobbo Byrnes has built a body of work the long way around: through miles on the road, small rooms filled with shared breath and a quiet, unwavering commitment to the craft itself. His memoir, Too Many Miles, captures that journey in full.

Rather than chasing the spotlight, he’s created something more elusive: a career on his own terms. From self-releasing albums like My Affect Is Appropriate to navigating the false starts of industry attention, his story is one of experience over expectation. There’s a lineage here too: echoes of artists like Tom Petty, Kate Bush, and Bruce Springsteen, figures who followed their own compass rather than the market’s, and in doing so, built lasting deeply personal legacies.

Wayward Sparrow Releases “Wayward Sparrow” – A Sparse, Story Driven Introduction to Upcoming Album “Devil By My Side”

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Detroit based singer songwriter Rich Clark steps fully into focus with the release of “Wayward Sparrow,” the debut single from his independent project Wayward Sparrow. The track is a well produced introduction ahead of the forthcoming album Devil By My Side.

Self-described as the creator of “whiskey lamentations and hymns of the hopeless,” Wayward Sparrow leans into the strength of stripped down storytelling. Clark’s music is defined by intentional sparsity, often built from little more than voice, acoustic guitar and an unadorned, atmospheric presence.

Improvisational Pianist Mario Mattia Releases “Origin” – A Return to First Principles

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There is something quietly definitive about “Origin”, the latest release from improvisational pianist Mario Mattia. As the title suggests, the piece gestures towards a point of departure, although the music itself resists any fixed sense of starting or ending. This work is less like a beginning and more like a return to first principles.

“Origin” consists of a single, uninterrupted improvisation lasting just over twenty-four minutes, making it the longest work Mattia has released to date. Recorded in his rural woodland studio with close microphone placement and a meticulously voiced piano, the performance captures every detail of the instrument’s character – from warm, resonant consonance to the more fragile edges of upper-partial dissonance.

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