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RVA #31: Record Reviews

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Originally printed in RVA #31 WINTER 2017, you can check out the issue HERE or pick it up around Richmond now. 

Tim Barry
High On 95
(Chunksaah)

Punk rock is the kind of scene that wears a person out. This might sound ridiculous to the kids singing along to “Young Til I Die” covers at the all-ages show, but by the time you’re 29 with two full sleeves of tattoos, sitting at the end of the bar because you don’t have the energy for the pit anymore, you learn the truth. Perhaps it’s not too surprising that Tim Barry, who once led 90s punk heroes Avail, is a decade deep into a solo career as a folk-country artist and shows no signs of looking back. High On 95 is his sixth solo album, and it shows him settling ever more comfortably into the acoustic troubadour role. He only sang in Avail, but his proficiency on acoustic guitar here sees him creating some excellent melodies on songs like “Gumshoe Andy” and “O & DP.” The minimal instrumental backing (slide guitar, violin, the occasional percussion) gives these tunes a rootsy feel and allows you to crank up the volume without bugging the neighbors. The DIY veterans will see the appeal immediately. The kids might not get it yet, but rest assured, their time will come soon enough. (MN)

Ann Beretta
Old Scars, New Blood
(Say-10)

Collections of old songs re-recorded can be a risky move–it may do little more than spotlight the fact that the now-middle-aged members have lost a step. That said, Ann Beretta is lucky enough to retain a vitality that makes the past 20 years seem like the blink of an eye. This one’s worth it even if you have the old records. (MN)

Antiphons
Fine
(Citrus City)


Fine zooms in and out in an incredible way. The EP’s lyrics focus on super-specific circumstances — burning your tongue, going into anaphylactic shock because of a nut allergy — yet the music gradually opens up via savvy guitar work and countermelody, resulting in big, inviting moments. In that way, Fine manages to be personal and universal at the same time. (DJ)

Ashanti Bragg
Journey of a Young Woman Vol. 1
(Datpiff)

With seven tracks giving us a good sample of what’s to come, Virginia Beach native Ashanti Bragg makes her debut almost two years after dropping the video for opener “My Love.” Featuring a variety of songs showing her musical versatility, the confidence that oozes through her music makes for a fun and energetic experience that leaves the listener wanting more. (KMP)

Big No
Get Over Yourself
(bignobigno.bandcamp.com)


Presenting itself as an ambitious and experimental project, Get Over Yourself is vast. One second, the structured sound is airy and poppy, and then the next, it begins to wax into blues. Big No has made it obvious that their strongest musical asset is their instrumentation; Heather Jerabeck owns that piano. (CM)

Black Liquid
ANTi
(self-released)

Two words: Unfiltered. Observation. Black Liquid’s obstinate attitude and sharp public commentary on ANTi challenge local perception and opinion through a conversational approach. His poignant flow found on the title track “ANTi” is relentless, barraging the listener with anecdotes that highlight the MC’s natural inclination for hip-hop as an art form. (CM)

Butcher Brown
Live at Vagabond
(Gearbox Records)

Make room, Donny Hathaway–this is one for the ages. Live at Vagabond captures the energy of the crowd and the virtuosity of individual instrumentalists with remarkable clarity, giving listeners a taste of Devonne Harris’ compositional gifts, adventurous approach to keys, and the ensemble’s knack for seizing the moment. This is the Butcher Brown sound at its most cohesive and dominant. (DJ)

Buzzard Dust
Buzzard Dust
(Forcefield)

What happens when a ragtag group of metal veterans wants to rock? They form a thrash band. Buzzard Dust’s eponymous debut is a 24-minute adrenaline burst of wicked dive bombs, breakneck blast beats, and guttural profanities that recalls the feeling of a dark, sweaty mosh pit. I dare you to not headbang during “Have You Seen Me.” (CM)

Doll Baby
Hell Block EP

Doll Baby blesses listeners with yet another phenomenal demonstration of their artistic prowess. Hell Block is a mere five songs, but holds the sustainability of a traditional full-length album. The four-piece’s jam tracks scratch a deeper itch, bringing everyone to their feet. Singer Julie Storey has the most pleasingly unique punk vocals you’ll ever hear. (CM)

Fly Anakin, Koncept Jack$on & Tuamie
Panama Plus
(Mutant Academy/Smallz World Management & Consulting)

More hardcore, boom-bap hip hop from the Southside’s own Fly Anakin & Koncept Jack$on, this time with fellow Mutant Academy brethren Tuamie handling the production. Hearing the duo spitting over one producer’s sound gives this project a different, more cohesive feel from their last full length, but if you’re expecting a drop off in quality, you won’t find that here. (EH)

God Goldin & Duce
Universal Benefits
(Control Ent)

Bouncing back and forth over each track, Goldin & Duce have a great chemistry, with Duce’s laid-back flow paired on “Lolo” along with Gold’s more hype flow. The songs feel like these two have been a working partnership for years already. If you need a quick musical boost in your workday, give this a spin. (EH)

Gritter
Nobody Cares

Gritter isn’t necessarily reinventing the (steel) wheel on their fourth album, but then again, if it ain’t broke, why fix it? Their brand of harsh, caustic metal has some clear NOLA influences but gives it their own muddy James River flavor. This music will give you strength to face life’s frustrations. Don’t leave home without it. (MN)

Thorp Jenson
Odessa
(South Boulevard)

Fully-formed narrative writing, steady-handed production, and killer performances from top-notch players provide many reasons to disbelieve that Odessa is a debut release. It plays like an expertly crafted survey of styles from the last 60 years, from Stones riffs and heartland rock to country waltzing and soul not unlike Matthew E. White’s. Well-worn and world-class, right out of the gate. (DJ)

Keep
For Your Joy
(Citrus City)

With this monster of a debut full-length, the duo Keep has etched its name among the city’s growing list of musicians on the rise. The group’s sound is diverse and evocative, being deeply rooted in their appreciation of grunge and industrial predecessors. For Your Joy embellishes an introspective atmosphere that lets one track roll right into the next. (CM)

Long Arms
Young Life
(Dead Serious)

Long Arms began as James Menefee’s alt-country project, but with their latest album, they’ve left those touches behind in favor of the punk-influenced heartland rock that feels like Menefee’s natural mode. It suits him; skipping genre tropes in favor of excellent heartfelt tunes with a heavy Replacements influence makes Young Life is a career highlight. (MN)

Mistaker
Goodbye And Other Lies
(Self-released)

An intense, heartfelt slab of pure emotion delivered with power and melody, Goodbye And Other Lies is a worthy contribution to the field of melodic punk rock from a group of veterans who’ve paid plenty of dues. This is music for remembering past struggles and appreciating where you are. With this EP, Mistaker carves out a distinctive niche for themselves. (MN)

My Enemies & I
The Beast Inside
(Fearless)

This VA-based metalcore crew draws a lot of influence from angst-ridden early 00’s nu-metallers like Slipknot and Mudvayne, interjecting melodic choruses and moody breaks into a stew of pounding downtuned riffage and brutal breakdowns. The result is an invigorating, gleefully profane blast that brings me back to my youth. If this is what today’s kids are into, sign me up. (MN)

Positive No
Partners In The Wild
(Trrrash/Little Black Cloud)

This RVA quartet definitely brought the fire this time, cranking up the energy to deliver a louder, more distorted follow-up to debut LP Glossa. The 90s alternative and indie-rock influences that fundamentally inform Positive No’s sound are still dominant, but their punk past is much closer to the surface here–and that’s definitely a good thing. (MN)

River Black
River Black
(Season Of Mist)

This combo sees Municipal Waste drum-pounder Dave Witte reuniting with his Burnt By The Sun bandmates, John Adubato (guitar) and Mike Olender (vocals), to carry on that band’s brutal, politically-driven metal rampage. Doom-infused metallic hardcore riffs meet grinding blast beats and double-bass mayhem to create an unstoppable steamroller of a record. (MN)

Talk Me Off
Talk Me Off

Some fun, speedy punk with a tendency toward retro stylings. The first song has a borderline-hardcore intensity, but the others get more melodic in a manner reminiscent of early 80s SoCal punk–Agent Orange, first-LP Bad Religion, that kind of thing. The furious anti-white-nationalism lyrics on “Inglorious Bastards” are a particularly nice touch. (MN)

Vivian Fantasy
Deep. Honey.
(Hush Hush)

Can music be simultaneously comforting and unsettling? Deep. Honey. makes a pretty strong case in the affirmative. Warm synth sounds and layered guitars lay down pillowy sonic padding, yet Danny Bozella’s singing is manipulated throughout, coming across as uncanny. “I put effects around my voice to hide what I write,” he sings on “Charms,” ringing with a beautifully ironic honesty. (DJ)

Reviews by: Marilyn Drew Necci (MN), Eugene Henry (EH), Davy Jones (DJ), Kiara M.P. (KMP), Christopher Alan McDaniel (CM)

Top Photo Credit: Joey Wharton Photography

RVA #29: Record Reviews (Part 1)

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This article was featured in RVAMag #29: Summer 2017. You can read all of issue #29 here or pick it up at local shops around RVA right now.

LOCAL

Blame

Blame

Blistering d-beat hardcore from a band of straight-edge punkers with an enthralling sense of melodicism. There are hints of metal in their songwriting foundation, maybe borrowed from Richmond’s vibrant scene, and it makes their songs a bit more engaging and a hundred times more searing, though the appeal is still in the way they build and execute their hooks, whether by shrieking vocals or shattering guitar lines. (DN)

Camp Howard

Juice

(Egghunt)

Though just an EP, Juice shows off the true depth of Camp Howard’s songwriting, as the group freely floats in and out of ‘80s structures and fuzz rock archetypes. Breezy rock is still the name of the game for Camp Howard though, a style that brought them to the forefront of the Richmond music scene last year, but Juice shows that the group has way more to offer within that confine, proving not only their impressive potential, but also the staggering skill they have available right now. (DN)

Dharma Bombs

Old Time Romance

(Crystal Pistol)

Ragtime/Dixieland folk music from a plucky band of musicians that can deliver plenty of fun moments (“Abigail”) as well as more striking and somber tunes (“Pack Your Bags”). Trey Hall’s old-timey yowl alone is worth the price of admission here, with the delightful horn arrangements and hoo-dum rhythms are just icing on the cake. Unlike so many other popular live acts, Dharma Bombs are able to capture the charm and spirit of their amazing performances, all available on this wonderful twelve-track album. (DN)

Fat Spirit

Nihilist Blues
(Citrus City)

The first release in four years from the former Heavy Midgets is a welcome mélange of grunge malaise and power melodies, sprinkled with enough hardcore and shoegaze elements to make it stimulating for all rock fans. The band’s ability to cover all tempos and grooves is inspiring, but it’s really the slower compositions that reveal the towering power of their ability, as they seem just a tad bit more creative and infinitely captivating. (DN)

Flight Club

Kinda Funny

On one hand, this is straightforward pop punk as the five tracks on this EP could easily be inserted onto any mid-2000s CD-R. On the other, it’s clear this plucky band has a lot more up their sleeves, utilizing blues and even doo-wop moments to make their music stand-out. Producer Alan Day of Four Year Strong helps streamlines the sound, but this EP still shows Flight Club off as an incredibly skilled rock band… who just so happens to like pop punk.

Golden Ours

New Faces

Local musician Kia Cavallaro offers up a special brand of porchtop folk, one that she freely contorts via production techniques both invigorating and astounding. Using delayed vocals at times, she offers a glimpse off a fractured mind, one that mends itself slightly over the runtime of the album. Bouncing between lo-fi and ethereal, the sounds Cavallaro has culled together are simply breathtaking, even if better observed as a musical tumbleweed slowly making its way through the valley. (DN)

Gull

Lurcher

Industrial music on its face seems outdated in 2017, but leave it to a performer like Gull to make it urgent and relevant by injecting it with a jolt of life and his own signature aplomb. While the longer compositions like “The Ancestral Knife” excel at pulling you into his world of Depeche Mode melodies and Skinny Puppy rhythms, it’s the shorter tracks like “Trichotillomania” that perfectly capture Gull’s essence of creative release that just builds and builds on itself until the climax. (DN)

Kaelan Brown

From Out The Pines

A stunning EP that cements Brown as one of the area’s most vibrant MCs through seven songs each designed to showcase not just his skill, but his curious charisma. Notable is Brown’s ability to keep the flow from track-to-track airtight, as producer Wakeen passes thiongs off to Bince and Julien Earle for a song each. It reveals a solid sense of identity for the rapper, as he’s comfortable unfolding lyrics on a lofty wave or bouncing his way through a party anthem. (DN)

Lobo Marino

The Mulberry House

Above the amazing live shows, the fearless songwriting, the insightful lyrics, the gorgeous instrumentation — above it all, the best thing about Lobo Marino is their ability to reliably grow as artists year to year. 2015’s We Hear The Ocean was a remarkable release, but the band has shot right past it with The Mulberry House, a full-length release that covers world music down to acoustic ballads. Enlightening as it is provoking, it’s yet another indelibly great mark Lobo Marino has left on Richmond’s local scene. (DN)

Sid Kinglsey

Good Way Home

(American Paradox)

An impeccable release that unwittingly raises the bar for any and all music coming out of Richmond. Soul overflows out of each track, whether from Sid Kingsley’s own bellow (that brings to mind the legendary Levon Helm) or the sharp instrumentation brought together by producer Scott Lane, and it’s a remarkable step-up from most Americana music released these days. All in all, this is one of, if not the, best Americana release to come out of Richmond, as well as one of 2017’s best records overall. (DN)

The Milkstains

Punch The Sky

(Trrrash)

As this trio exudes time and time again, The Milkstains are virtuosos at creating a perfect balance between garage rock, surf jams, and spaghetti western barnburners. Punch The Sky is no different. Over the course of ten tracks, the band are quick to remind everyone that there is really no one quite like them in Richmond and their riley misfit attitudes will always find their spirited homes in poignant lyrical moments. “Young Scum” could easily be the jam of the summer! (SC)

The Weak Days

Tight

(Possum Hearts/Running Around)

Richmond’s brightest journeymen return for this bold EP, one that’s a remarkable step-up from their previous work. It offers a more matured take on their rock sound, one rooted in DIY spirit and emo concepts, but still showcases the band’s signature charm — campy, tongue-in-cheek wit that’s endlessly endearing. Overlooking the EP’s impressive list of guest musicians, Tight is still just a riveting collection of melodies and hooks, only really bolstered by the strong messages the duo sings about. (DN)

Reviews by Doug Nunnally and Shannon Cleary

RVA Mag #28: Record Reviews (Part 3)

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This article was featured in RVAMag #28: Spring 2017. You can read all of issue #28 here or pick it up at local shops around RVA right now. If you missed Part 1 of our record reviews, you can check that out here. If you missed Part 2 of our record reviews, click here.

Jens Lekman
Life Will See You Now
(Secretly Canadian)

Lekman is a bit of a songwriting trickster. At his most depressed, the songs elevate themselves to appear as joyous affairs of boisterous arrangements and fanciful grooves. With this in mind, this record is Lekman at his strongest by balancing the sadness with the whimsical. Highlights include the pop gems “Our First Fight” and “How We Met, The Long Version.” It has been far too long, Jens. We are eager to hear you now. (SC)

Julie Byrne
Not Even Happiness (https://f4.bcbits.com/img/0008722844_10.jpg)
(Ba Da Bing)

Organic and sincere, wistful and romantic; Byrne’s second record is a much more confident affair than her debut with the singer fully embracing the tonal atmosphere she creates. Capturing her restless spirit is key here, with her august voice willing the listener to join her on her travels, both in the real world and within. Though clearly folk by design, the subtle use of synths helps distance herself from other songwriters, leaving Byrne in a class of her own in 2017. (DN)

Landlady
The World Is A Loud Place

The album art for The World Is a Loud Place isn’t just the first GIF cover released via Bandcamp — it’s also a wonderful representation of Landlady’s music. Big, colorful, kinetic… songs move and change with such amazing energy. “Electric Abdomen,” “Nina,” and “Driving In California” all function as multi-act productions that deserve elaborate set designs, and they round out — along with past releases — a vibrant and powerful body of work. (DJ)

Laura Marling
Semper Femina
(More Alarming)

The most important record released in the wake of the Women’s March, Marlin’s latest record is far from a departure from her previous works, but is also much more pointed in its subject matter and over-flowing with existential thoughts and observations. Easily the most attentive album of her catlog, Semper Femina is one of the boldest examinations of feminism and womanhood society has seen in some time, something that comes as no surprise to those who have followed her career. (DN)

Priests
Nothing Feels Natural
(Sister Polygon)

The aplomb of Priest’s musical spirit is what makes this debut remarkable as the band weaves a needle of punk energy through a tapestry of surf rock and indie pop. Paying close attention to the words of the record and the way the music ebbs and flows reveals the band’s personal politics, but the band ultimately leans more towards the Pixies’ end than Pussy Riot as they freely frolic in a surreal world swirling with surf and punk elements. (DN)

Ryan Adams
Prisoner
(PAX AM / Blue Note)

After his bold offering 2015 that exposed him to a completely new fanbase, Adams returns with a record that shrewdly builds on his past work, while still striving for that next sonic jump. Mirroring the album’s over, the songs come off as blurry, patchy, almost disjointed at times, but still form a recognizable image of heartbreak and confinement, one that’s as affecting as it is brilliant. (DN)

The xx
I See You
(Young Turks)

The xx have never lacked cohesion, but this feels like a new fusion of powers. Jamie xx’s production knowledge and abilities fully burst through on his 2015 solo album, and he’s applying that skill set more confidently than ever, complementing and elevating the hypnotic Romy-Oliver chemistry that’s defined the band to this point. Singles “Say Something Loving” and “On Hold” are instant xx canon, but “Lips” is a sleeper for one of the year’s most gorgeous songs. (DJ)

Thundercat
Drunk
(Brainfeeder)

Like the title implies, Thundercat’s goal here is to intoxicate you with the groove, something a lot of modern soul producers ignore. Listen to classic soul records and you can truly feel the attention given to the groove. It can alter and modulate, but it can’t be paused, interrupted, or, worse, dropped. Thundercat realizes this and pays extra attention to it ensuring no matter who is in front of a mic or behind the board, it’s a seamless sound from start to finish. (DN)

Reviews by Davy Jones, Doug Nunnally, and Shannon Cleary

RVA Mag #28: Record Reviews (Part 2)

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This article was featured in RVAMag #28: Spring 2017. You can read all of issue #28 here or pick it up at local shops around RVA right now. If you missed Part 1 of our record reviews, you can check that out here.

Fly Anakin & Koncept Jack$on
Chapel Drive

Give one listen to Chapel Drive and you’ll understand just why the Mutant Academy collective has earned such a strong reputation in hip-hop circles. The first project to feature every member of the collective, there is a ton of creative rhymes and stunning production to digest, so much so that it’s daunting at times, but Fly and Koncept pace the sixteen track well and work hard to ensure its laid-back feeling… just like a chapel drive itself. (DN)

The Folly
The Folly
(Self-Released)

An extremely eclectic offering from one of the more unique bands in town, with enough musical ideas to tide them over for the next decade it seems. Sounds jump from song to song starting with a bang (“Coal Miner Rebellion”) before moving on to a shimmering duet (“Fish Me Out”). Utilizing two strong singers in Anneliese Grant and Jordan Lette helps lift the record up, but it’s really the quartet’s songwriting ability that lets this EP soar. (DN)

Opin
Opin
(Egghunt)

Landis Wine and Tori Hovater have hit the ground running with this debut. It’s an intense, emotionally affecting collection — “Do you really want to die sometimes?” — and while the album drives deeper into the synth territory White Laces had explored, the ache in Wine’s voice and sporadic saxophone appearances fill these songs with a striking sense of humanity. From its loudest moments to its most reflective, Opin feels alive, with all the passion and variety of life itself. (DJ)

Saw Black
Azalea Days

Throughout Azalea Days, Saw Black makes one convincing argument after another for why he is one of the strongest songwriters in town. As the record contemplates a relationship unraveling, Black looks at the universe internally and externally as he seeks answers and resolve in each of the eleven tracks featured. Even at the most disparaging moments, there are still moments of hope to be found from a perennial love song to an ode to everyone’s favorite pastime. (SC)

NATIONAL

Allison Crutchfield
Tourist In This Town
(Merge)

On her proper solo debut, Allison Crutchfield seems more vulnerable than ever. While spinning tales of anxiety and embracing change, this new side of the songwriter is as welcome as ever. “Dean’s Room” is a quick song to highlight on the stellar Tourist In This Town. If you were in need of a reflective collection of intimate confessionals in the form of nuanced songwriting, look no further than Crutchfield’s latest. (SC)

Chris Thile & Brad Mehldau
Chris Thile & Brad Mehldau
(Nonesuch)

When they’re performing music written by other people, Chris Thile & Brad Mehldau are lossless interpreters. Their instruments — the totality of what they’re capable of between their playing and Thile’s singing — are borderline perfect, and it’s thrilling to see where they direct that exquisitely appointed machine. Elliott Smith. Bob Dylan. Gillian Welch. Their own compositions. This album feels like an incredibly thoughtful, neatly wrapped gift, both for listeners and for the featured songwriters. (DJ)

Conor Oberst
Salutations
(Nonesuch)

Oberst has been known as a strong songwriter for well over two decades now and Salutations, his 22nd album since 1993, only further proves the point, legitimizing himself in the upper echelons of modern music composers. Though it lacks the focus of his previous work, 2016’s Ruminations, the Dylan-esque melodies and Americana sounds come together beautifully, while the lyrics offer a more shrouded lens with which to listen through. (DN)

Foxygen
Hang
(Jagjaguwar)

On their fourth record, the duo leans on Spacebomb to overcome the shortcomings of 2014’s …And Star Power and delivers a more focused record that imperfectly imposes over the band’s catalog, even if it is a far cry from 2013’s We Are The 21st Century Ambassadors Of Peace & Magic. Richmond fans will love the numerous local credits on the release, while music fans in general will love the direction Sam France has willed Foxygen in. (DN)

Reviews by Davy Jones, Doug Nunnally, and Shannon Cleary

RVA Mag #28: Record Reviews (Part 1)

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Topics: ,

This article was featured in RVAMag #28: Spring 2017. You can read all of issue #26 here or pick it up at local shops around RVA right now.

Aerica Lauren
If You Are Home, Welcome Home

Heart-wrenching songwriting by a sincere, gutsy, and ambitious artist who quickly asserts herself in a town known for strong female songwriters. Lauren uses the space of her raw recordings to create tangible depth within her songs, allowing the harmonies to shine bright and the emotions to cut deep. Unexpectedly, the release leans towards bedroom pop at times, but one wrought with conflict, setback, and introspection that makes for a striking collection. (DN)

Antiphons
Groan
(Citrus City)

As Groan takes off, the listener should immediately be aware that they are about to be treated to one of the strongest debuts from a Richmond artist. Antiphons find a proper balance between the whimsy of artists like Fleet Foxes and fury of Dinosaur Jr. As Brian Dove croons throughout, a record detailing the travels throughout the continental United States and a romance faltering feels poignant and enchanting. An early, but strong frontrunner for record of the year. (SC)

Book Of Wyrms
Sci​-​fi​/​Fantasy
(Twin Earth)

A riveting debut record from a quintet strongly asserting themselves as one of Richmond’s best hard rockers. Dense guitar lines engage in a shouting match with the tight rhythm section, while Sarah Moore-Lindsey’s siren voice provides clarity and direction to each song. Naturally, there are plenty of epic moments provided by guitarists Ben Courdiet and Kyle Lewis, but this release really soars on its ability to reign in the songs and deliver succinct, yet blistering compositions. (DN)

Cherry Pits
Splatterday Nite

People recoiling at the shameless album cover will be surprised to find the record is actually quite accessible for those interested in garage and powerpop sounds. The songs fly fast and loose, though the band is in full control, expertly guiding it through the brash rollercoaster they’ve meticulously structured. With a great live feel to each song, the band’s delivered a great taste of their live shows that’s earning the band a strong reputation in and around Richmond. (DN)

Dazeases
Local Slut
(Egghunt)

It’s easy to see why Dazeases has become a favorite in town with each and every dystopian electronic foray into indie pop hitting its lofty mark on C R U M B S. Each tune languishes on tearing apart anything that remains taboo to discuss in how we treat and relate to one another while developing a harsh realm of loops, grooves and noises that fit well with each relative concept. Dazeases quickly engages audiences with the provocative and intensifying sounds to be found throughout C R U M B S. (SC)

Don Babylon
Babe
(Trrrash / Medical)

A winding road that leaves the listener wondering if they somehow landed on another record at times, Babe is a testament to the trio’s songwriting ability and attention for structure. Though rock for most of the record, the band flirts with other styles — maudlin, country, and post-punk — in a way that helps bookend sections of the record and allow strong compositions like “There Will Be Blood” to really shine through and leave a lasting impression. (DN)

Evan McKeel
Brown Paper Bag
(Self-Released)

A touching collection of songs from a young voice with plenty to express. The songs flow easy across, with gorgeous melodies and picture-perfect instrumentation, but what gets lost is how ambitious the record is at time, such as the expansive opening number. The album is guided by a patient, almost veteran hand that realizes there’s no rush in establishing the song, and takes care to ensure each song gets to where it is going by any means. (DN)

Flo Morrissey & Matthew E. White
Gentlewoman, Ruby Man
(Glassnote)

I will undoubtedly count first hearing Flo sing the chorus of “Thinking Bout You” as one of my happiest moments in recent memory. It’s an act of amplification — giving an implicitly powerful vocal part even more oomph within an atmosphere of loving and capable extrapolation. Lead single “Look At What The Light Did Now” hinted at the grand yet precise scope of this album, but track after track delivers a considered depth that ends up sounding easy. (DJ)

Reviews by Davy Jones, Doug Nunnally and Shannon Cleary