Song number one, “The Dead King Hunts And Eats The Gods,” demonstrates immediate depth of musicality here with dark, rhythmic blues. The band is groovy in every sense of the word, and on “Dead King,” Sedgewick and his bandmates deliver a remarkably classic tune. The drums patter along with a bluesy shuffle, making this song an undeniable head bopper. When Sedgewick delivers the line, ” The hills and valleys turn to dust when he walks…” it’s not hard to imagine yourself as the legend spoken of in the song’s title. Americana thrives in these quasi-vague, nature-themed lyrical themes, and this opener is no exception.

Song 3, “Bowen,” utilizes what seems to be the low end of a guitar to offer you a figurative walking stick as you traverse the music. Throughout The Lonesome Tender Hollow of the Night, the band makes use of its respectable niche: playing right in the pocket without ever drifting into the trap of overplaying. The warm guitar tone and near-constant harmonica conjure images of watching birds fly across the sunrise. “Bowen,” perhaps most poignantly, is where Sedgewick sings the line that the album is named after.

A bit later on in The Lonesome Tender Hollow Of The Night is “Lodestone,” where continues crooning in his delightful tenor. It’s at this point that one realizes just how steady Christo Sedgewick and The Fabulous Regrets really are – “Lodestone” seems congruous with easygoing, everyday life. As a drummer myself, I really appreciated the mix regarding the ride cymbal – it is perfectly sculpted. The song sees itself out in a delightful swing.

“Splice,” the album closer. Somehow, the band manages to slow down even more. There is less of the treble-y fingerings heard throughout this album, but a tasteful, lightly distorted and inviting lead guitar remains. “Splice” revolves around a simple melody that, to me, is reminiscent of Manchester Orchestra’s slower-paced tunes. The song itself is touching, yet droning and the group lulls you into a hypnotic state of mind.

Overall, The Lonesome Tender Hollow Of The Night is a wonderfully stable album that can be played preferably while driving or while in a contemplative mood. This album is FFO Dr. Dog, The Band, and Bob Dylan. When you’re ready, The Lonesome Tender Hollow Of The Night can be listened to here.

P.S. Music like this is often better experienced live, so be sure to check them out in Buffalo at Hot Mama’s Canteen this on July 24th, 2026.

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The first track, “Seagulls in the Waves,” starts off strong with a very deep atmosphere – something that is certainly true throughout Yutori‘s entirety. The singer mentions the “sun shin[ing] on [his] tired face,” a perfect lyrical accompaniment that compliments the experience of the duo’s guitar melodies melting away worry.

As you traverse out of the blippy electronica and textured guitars of “Pure Imagination” into song three, “Summer Tide,” you’ll notice the incredibly smooth flow of the album. With continued listening, one may realize that the pace of Yutori is purposely slow, offering time to relax and to focus on the present. At times, buzzing synth leads guide you through the dense soundscapes – as if spotting fireflies in the steamy, nighttime summer air.

With more of the same steadiness and calmness all throughout, we come to “Ice Cream Dreams,” which is a prime example of Slept All Day’s intelligent use of ticking guitars and trembling vocals that pervade the album. It’s evidence that, Yutori is a very ethereal and cathartic collection of songs. It attaches itself to the bliss of floating on a crystal-clear, sunbathed lake, allowing one to pause and soak in life’s natural beauty. Ultimately, Slept All Day is soundtracking the everyday moments of your lives – whether you can follow their lead and learn to live in the moment is ultimately up to you.

Slept All Day’s Yutori is a stunningly beautiful listen, lending itself to those who are fans of Sigur Rós, Ólafur Arnalds, and Harold Budd. Take time to chill and contemplate by listening to Yutori on Bandcamp, Spotify, and Apple Music.

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“GIN,” the album’s opening track, is concise, blistering shoegaze. Perfectly noisy and concentrated, Bleach the Sky uses fuzzy guitars, an ethereal bass, and huge drums to back fittingly-crushing lyrics like, “Who’s to say it’s no one’s fault / It’s a sickness after all.” The strongly-rooted vocals deliver solid hooks while never losing that ghostly appeal, while the constant uproar of their instrumentals grind you down into nothing.

Song two, “Tail Light,” starts off with quick and heavy guitar before blasting itself off into a meteor-filled space scene. The song features intense volume dynamics – as a drummer myself, the toms sounded particularly well-rounded and deep, adding to its atmospheric appeal. Likewise, song number four, “Disguise,” is an ode to the shoegaze gods, with interesting chorus-soaked guitars and vocals that leap out of the mix, coming up for air amidst the otherwise dense soundscape… In fact, the song’s constant instrumental morphing may even be a musical nod to its lyrical content about masquerading.

Wash Away‘s entirety is full of instrumental infernos, arena-worthy percussion, and differing yet very effective types of vocal deliveries. The EP is out March 12, 2026 – until then, you can listen to the single “GIN” here, and, in the meantime, familiarize yourself with the band’s catalog on Spotify, Apple Music, and Bandcamp.

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“How Come?” is the first track on this live recording. There’s a thumping shuffle on the drum kit. The bass guitar walks us along on a loose leash. Joining other songs on this collection that question important societal norms like marriage, Curth sings, “How come everyone’s looking for a partner?” Though Curth questions the status quo, the band has an energy of understanding. Warm and somewhat jangly, the song immediately showcases Carballeira’s deftness.

Song three, “Worse Before Better,” begins with an electric guitar that’s layered with a subtle tremolo. Curth pushes us to accept a sentiment most people experience at least a few times – wishing to be someone else. “Worse Before Better” is more upbeat, with a contagious energy. A chunky guitar plays call-and-response with the keys in yet another highlight from Carballeira. Meanwhile, Curth cranks up the volume of his vocal cords as epic drums fills pervade this rockabilly tune. Curth rambles, “After some coffee, you’ll probably be okay,” before he enlists a series of growls, a fitting apex before the song’s delicate end.

On the latter half of this album is “Let There Be Light” – an existential pondering of Christianity as well as the fundamental need for acceptance of different spiritual perspectives. With its metaphorical nature, this song is shimmery, like the sun coming out from behind the clouds. Curth sings of a disagreement between he and his mother, she herself believing in the Christian God, while her son questions his existence. The music is somewhat surfy – with its brilliant lyrics, smart musicianship, and believable delivery, The Sven Curth (Huge) Trio rounds out their performance with both love and light.

All in all, Live at your local Waterhole is a stunning album. The Sven Curth (Huge) Trio demonstrates a very high level of musicianship, while providing a friendly musical atmosphere for one to either enjoy quietly or to dance the night away to. This album is FFO Bob Dylan, Van Morrison, and Yusuf / Cat Stevens. If you want a surefire listen, check out Live at your local Waterhole on Spotify, Apple Music, and Bandcamp.

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“… too indie to be punk and too punk to be indie.”

Nick Sessanna reviewed James Beastly’s previous album Junk Values here, giving it high praise. We’re happy to review his newest collection of songs – this time with a somewhat different approach. Overall more relaxed, the album ranges from buzzing shoegaze to dissociative, ambient folk. Moreover, We Should Be Animals is Beastly’s most ambitious attempt, starring key musicians like those from The Cast-Iron Canaries, Patrick Byers from Broken Social Scene, and Magdalena Żaczek of Smokey Robinson and Andrea Bocelli fame.

“Spring Violets,” the lead single from We Should Be Animals, queues with a disheartening, eerie synth pad. The quiet bellows of Paulos sit atop a decidedly indie electric guitar in a way that creates a palpable atmosphere. The drums alternate between the high and floor toms in a straightforward beat before the song transitions into an easygoing lo-fi interlude. Eventually, the song climaxes with a jittery guitar solo, more advanced drumming (that this drummer certainly appreciates), and a breathtaking finale of orchestral hits.

Song three, “The Defeatist,” differentiates itself from the pack with a touch of Beastly’s old Junk Values self. Huge fuzzed guitars kick off the song before it slows to a meander. A very peculiar and equally interesting lyric caught our ears: “I beat my skull, it’s nothing special / It’s just an awkward vessel.” Seeking to escape the boundary that is skin and the self within, the song bursts into a fiery guitar solo, which is certainly another album highlight. Similar themes can be found on the title-track, which takes aim at the perceived mistake of sentience. “We should be animals” coos in a folksy way, but it implies that our base desires and impulses are a bit more feral than we typically perceive. Maybe we are still animals, judging by the current state of the world.

Deeper into the latter half of the album is “White Dwarf.” I’m getting some early Tame Impala vibes from this one – something that’s expressed throughout the second half of We Should Be Animals, with it’s more psychedelic approach. The song morphs between indie rock, folk, and psychedelia while remaining cheerful and warm. The arpeggiated synthesizer is a diamond-in-the-rough, while the song’s end cues a unique, tremolo-ridden guitar that is emphasized with saxophone and crazy drumming.

Altogether, We Should Be Animals demonstrates the wide-ranging artistic mettle of Paulos. He fishes from the pools of several different genres, and produces intelligent and personality-filled music. While Junk Values was, per se, louder, We Should Be Animals showcases consistent indie rock, folk, and orchestral tunes that are hopefully getting truer and truer to Paulos’ beastly self. This album is FFO Iggy Pop, David Bowie, and even Gin Blossoms. We Should Be Animals comes out Friday, March 20th – so stay alert! Until then, you can familiarize yourself with James Beastly on Spotify, Apple Music, and SoundCloud.

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“As I was searching for an album title, I realized that there is an overarching theme of life’s impermanence that ties many of the songs together… Everything changes. If times are hard, it can’t change fast enough. If times are good, we try to hang on as tight as we can, but they pass just the same. We all have our own story about how we come to accept that, and these songs are a few of those stories.”

They say “happiness writes white” (at least Harvey Danger does), but Davis excels at something that’s notoriously hard to do right – the archetypal love song. Opening track “All of You” is warm, loving, kind – everything a wife would want to hear from her husband in the form of a song. Bouncy guitars and an in-the-pocket drum groove set the scene for this song about appreciating your spouse – but it also does an excellent job at setting the tone for the rest of the album. Brock’s music goes down real easy. There are no rough edges or hidden snags or spurs. The guy seems to have a true appreciation for his life and the loved ones he surrounds himself with, and a love song like “All of You” is the perfect way to introduce us to that formula. What’s more, the production here is absolutely incredible. It’s worth mentioning that Davis worked with some A+-tier musicians on Nothing Lasts Forever. Engineer Zach Allen has worked with Keb Mo’ and Kingfish, and the session musicians that brought these songs to life have worked with Bob Seger, Tim McGraw, Blake Shelton, Stevie Nicks, and many more. Wow, what a pedigree.

A 14 song album is certainly an undertaking – not only for a songwriter, but also for the listener – so here are a few of our album favorites. “All of You” is absolutely a wonderful place to start, but we’d also like to spotlight title-track “Nothing Lasts Forever.” Lyrics about drinking alone and long-lost-love compliment the gently plucked acoustic guitars. Like the title-track, there’s an undercurrent of sadness in several of Davis’ songs; it comes along with writing about some tough stuff, but this album is truly a celebration of life, even when it’s hitting you hard. The same can be said about “Til The Morning Comes,” a bittersweet ode to his aunt who made a difficult decision to stop cancer treatments in order to truly value the time she had left on this Earth. His lyrics touch on the importance of special-occasion-bottles, having fun nights, and watching sunsets… Davis successfully reminds us that it’s those moments that make life truly worth living.

The main thesis of Nothing Lasts Forever stands true, but Davis makes sure to include something for everyone. “Miracle On The Hudson” is about the brave-but-terrifying emergency landing of US Airways Flight 1549 made by Chesley “Sully” Sullenberger in the Hudson River. It’s a true storyteller’s song – and I can say this with certainty and admiration – I’ll probably never hear another song about that particular event in human history. Davis’ Americana heart yearns strongly on this one – you can almost see it – a songsmith, guitar in hand, crooning about hyper-specific imagery like the Manhattan skylines and birds flying in a “V” formation. Same goes for “One Paycheck Away,” less a love song, and more a bluesy, organ-soaked lament on the economy, and what it means to a family to have to side-hustle after your 9-to-5. That’s the unifying force here on Nothing Lasts Forever – and even when he strays from his tried-and-true, guy-with-a-guitar formula (that works astonishingly well for him, I might add), like on spoken-word soliloquy “A Daughter,” it still has the feeling of a hardworking guy who loves his family, respects his upbringing, and is proud to be American.

There’s so much more to dive into here on Nothing Lasts Forever – think of it like an album to put on while you have a lovely little fire with your family… Once it warms up again, of course. Nothing Lasts Forever comes out February 27th, 2026. Check out another album highlight, “Make Your Own Change,” below.

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Obviously as fellow snow belt dwellers, a song like “Windchill Minus Twenty” might appeal to us, especially as February temperatures plummet to that point regularly… Although we’re probably talking Fahrenheit here in the US – that’s probably much, much colder where Rayhan’s from. Here, he uses  a tough and glitchy beat to rap about how “selling drugs is a right of passage,” and the journey from being a drug-slinging youngster to a college-bound adult (and all the challenges in between). For someone who has never personally sold drugs for cash, it feels odd to think about someone funding their passion for acting with said illicit funds – but that’s exactly who Rayhan is and, judging by his lyrical prowess, it seems to have benefitted him handsomely. The song’s bassline pulses and grooves with snappy percussion driving it forth – all the while, Rayhan’s giving us no-punches-pulled insight into his rough and tumble upbringing. It’s hard, and honest, and real, and while you listen to EP 5, it becomes evident that that’s all that really matters to Rayhan.

Song two, “Basic” is a hard shift into indie-pop – ultra catchy and lighthearted, this one doesn’t quite drop the “gang shit” mentality, but instead takes the opportunity to delve more into catchy details like cotton candy-flavored Jägerbombs and good weed in Berlin. I’ve never heard an album that jars so abruptly between hip hop and airy indie-pop like this one, but that seems to be part of the thrill for Rayhan… This is what he came up with, this is what he recorded, and it’s him encapsulated. Heavy hitting hip-hop or ebullient indie-pop – it doesn’t matter – Rayhan does whatever he wants.

Lastly, Rayhan shifts into Bollywood-sample mode, offering an instrumental called “Botta.” More of an attempt at inspiring movement than a stereotypically-structured song, “Botta” shoots (and scores) on a get-on-the-dancefloor vibe. While this one is more of a mood-setter (as opposed to the storyteller vibes of his previous offerings), it’s another indication that Rayhan’s mind works in mysterious ways. Whether it’s a Bollywood sample or a lightly strummed acoustic guitar, it doesn’t matter. Seriously – the medium literally doesn’t matter for this guy. It’s just Rayhan being Rayhan, and for that, we can’t recommend it enough.

EP 5 is out now – check it out on Spotify.

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Album opener “Better Off” is a lovely introduction to BR. Clean and airy guitars, breathy vocals, and tight drums power this one forward, culminating in a mid-song crescendo that makes use of crunchy guitars. They perfectly segue into title track, “Campr,” in a way that blasts in seamlessly from the opener. The singer laments, “I choose my words carefully / Look where that’s gotten me.” The music itself is tinged with yearning guitar licks that touch ever-so-slightly into Midwest emo territory, alongside wild, impressive percussion. “Campr” achieves depth within the mix with its soothing, string-like synth pads. Halfway through, the band completely lets loose, emitting a refreshing heaviness.

“Carriage” coos with a delightful acoustic guitar. The drums and bass are perfectly locked in, with huge toms aiding in the surefire groove. The combined simplicity of the instrumentals and lyrics like, “Don’t wait for me…” demonstrates the band’s songwriting talent, as the lack of noise actually buttresses the song’s poignancy. What’s more, across Campr, it feels like the bandmembers are on a whole other level of “connection,” working with each other to create something so immersive. The shared singing duties here are a palpable strength, keeping the album feeling fresh and showing off a true, undeniable camaraderie.

The song “Home” is slow, meaningful, and spacious. The song contains a certain crispness that Broke Royals seem to have mastered. The bassline is creative and interesting, something that is true across the entire album. “Home” sees Broke Royals successfully attempt a quiet versus loud soundscape. Distance from the self and a safe space are lyrically apparent. There is so much here to dive into, but make sure you make it to album closer “Waited So Long,” too. The ultra-intimate vibes here are immaculate, and it sums up this otherwise lush and inviting album perfectly.

Broke Royals’ release, Campr, is a wonderful listen with potent and respectable highs and lows. This smart, well-rounded album, FFO Slowdive, Silversun Pickups, and Cocteau Twins, can be found on Spotify, Apple Music, and Bandcamp.

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“We were never looking to be confined to that ‘old-time’ stereotype… For me, the American song tradition is still very much alive and well – you just have to recognize that it’s there. It’s literally in us… No machine can ever do that, but it’s up to us whether we lose that skill or not. Because we’ve always had people who were just playing dress-up. That’s never been my thing.”

“Lost by the River” is an incredible way to kick off this album and instantly earned our nod for EP favorite. Up-stroked guitar stabs peek out behind wailing harmonicas – cheers of “Let’s go” ring out like real-time calls to action. Lyrics about getting out of a small town add to the down-home charm, and even though it’s a plea to GTFO on some level, it always feels ebullient and uplifting. The band masterfully slides into track two, title-track “Shoutin’ Good Time,” another song with these riveting, real-time callouts. “Have a shoutin’ good time” and even a well-placed “Let’s do it again!” give this one a barnburner feel – literally and figuratively. It’s one of those songs you’d love to hear at a bangin’ backyard shindig – big band and all.

“I Thought I Heard Bob Dylan Say” is the band at their most “unhinged,” pairing gritty, gravely-throated vocals with lyrics that name drop Dylan, Fogerty, and other classic American songwriters. There’s even a tuba solo somehow, with accompanying woodblocks. It’s evidence that these two have really orchestrated this entire affair – more than just some twangy guitars and soulful vocals, although those are integral to the vibe too. Closing track “King of the Minor Leagues” harkens back to a bit of a surfy vibe, bringing to mind the Beach Boys with a hint of that early ’50s rock n roll energy.

Sure, Shoutin’ Good Time could have come out 70 years ago, but in 2026, it is truly unique and feels one-of-a-kind and well-thought-out. There are many ways to support Singing River and Shoutin’ Good Time. Check them all out here.

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The album starts off with “The Opening.” Here, we meet our main character, a camp counselor named Paul Blart Jr., and his pet monkey, Toto. An upright bass and horn ensemble play behind the narrator as Paul and Toto move through their morning routine. Paul’s voice is raspy and young-sounding – it’s comparable to the SpongeBob SquarePants opening theme in the most complimentary sort of way.

Next, we have the hard-to-deny surf rock tune, “Camping Trip.” Voices call out “Camping!” as the song bounces along thumpingly. Our main characters are now preparing for the trip itself by gathering food, water, and other important supplies. Paul exclaims “… [this will be] so much fun!” Again, the music harkens back to cartoons you may have watched as youngsters, vibrant and ebullient – perfect fodder for something that could be found in children’s literature.

Later on, there’s a more comedic song called “Pee Dance.” We’ve all been there: clenching our bladders because we didn’t go to the bathroom when our all-knowing parents told us we’d have to eventually… The drumbeat is jazzy, refined, and properly represents the tumultuous happenstance. “Pee Dance” showcases the talent of the musicians behind this project – all the instrumentation is exceptionally professional and ridden with pulse-raising funk.

“Bear Hug,” one of the latest releases from Newman Bros Presents, begins with cicadas, bear growls, and an unfortunate rainstorm. As Toto escapes in fear, Paul and the children are left to confront a bear attack. Fortunately, this bear is a pacifist – all he wants is a bear hug. The song itself is full of tasteful big band hits, rolling basslines, soaring horn sections, and several different vocalizations.

To close, the final few songs of Camping Trip! have the children, Paul, Toto, and the newly introduced Uncle Podunk, traveling to a candy shop. In “Bubblegum,” instead of Paul’s raspy tenor, we hear, presumably, Uncle Podunk, chirping like Les Claypool about the candy store’s tasty allure atop a bluesy soundtrack. The album closer, “Bye Bye Baby,” which is another brand new release, is a country tune with experienced saxophone and violin solos, along with a pretty slide guitar and steam engine percussion.

Camping Trip! by Newman Bros Presents would definitely be a fun-filled listen for any traveling family, intended for members of all ages. If you choose to purchase and/or download the album, you can also download a forty-page e-book that coincides with each track for free. For parents that enjoy Tom Waits, Captain Beefheart & His Magic Band, and want a break from all the Cocomelon tracks on repeat, Camping Trip! might be your savior. One can listen to the Newman Bros Presents album here.

You can also donate to the project’s Kickstarter by following this link! Snag hard copies of the vinyl and/or hardcover copies of the book, as well as a bunch of camping-themed swag, available and sent out April 2026.

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