Moons - Ekra

Ekra is a duo rock outfit from New York that's creating circular and layered music with ease. Songs like Intercourse fill the space between ambient Radiohead and dark U2. The track is instrumentally, dark and driving; while the vocal melody is more soothing, anthemic, and reverb-laden.

On Sagittarius A, a dirty trumpet opens the song before a catchy drum sequence drives the song and takes it to something you might expect from Thom Yorke. I love the way they mixed this song. Its spacious and capitalizes on the hooky vocals, while still giving support and tribute to some stellar instrumental musicianship.

Album closer, 49 Days is a mid-tempo piece featuring tight bass and drum work. It has elements as contrasting as NIN and The Postal Service, but seems to pull the angularity off.

If creative ambient-rock is your genre, you'll love Ekra. If not, you'll still appreciate the ride! I would love to see a live show to experience how they pull off the soundscapes as a duo group.

RATING: 4 of 5 stars

Naked - Steve Baskin

If its textured Americana alt/pop-rock that you're into, then you'll dig Naked, by Atlanta-based, Steve Baskin. Surrounded by a stellar band, they create soundscapes that accurately articulate each song and Baskin's vocals.

Album opener, Catch Me If You Can, is overly poppy, and lends itself to all listeners. It comes across like a blend of Counting Crows and Blue October. Later track, A Day in My Shoes seductively explodes with a great, soaring lead guitar riff. The melodies aren't quite as singable, but the hooks come at you one after another.

Something Smells Fishy belongs main stage at Bonnaroo. Its jammy and catchy all the same. Clearly, these guys know their way inside a studio. Their sounds are solid, and they all complement each other song after song.

RATING: 3.5 of 5 stars

Recurring Dream - BARDO

BARDO is the culmination of some of LA's finest, doing what they do best - rock! BARDO is part punk, part pop, part rock/alternative; but all attitude. Their album opener, GP Boulevard begins with a simple clean guitar riff and King's vocals, sung clearly and flowing. The drive kicks in at the first chorus and remains throughout the rest of the song.

On track 3, Beautiful, BARDO begins with a tight, in the pocket, groove that complements King's voice perfectly. The pre-chorus gives you layers and drives you into the hooky chorus, singing "you're beautiful."

Run, exposes some of the inner grit within the bands songwriting. Its all drive from the beginning to end. The guitar solo is thought provoking and poignant. Its angular from the straightforward punk-rock tune, but its just the art the song needs.

Finally, on Free To Go, King lilts her voice from almost spoken-word to floating falsetto. The band works thoughtfully throughout the song and plays just what is needed; nothing more, nothing less.

BARDO clearly exhibits recording prowess and songwriting critique.

LA'ers...check them out if you haven't already!

RATING: 4 of 5 stars

The Only Ride You Can Get - Keith Moody

From the first listen, Keith Moody reminded me of a nice blend of Americana roots-rock and country. There are moments of Tom Petty, Gin Blossoms, and Keith Urban. Moody has a pop appealing ear that truly shows in his writing and production.

His album, The Only Ride You Can Get, was produced by Moody and Jason Elgin. Album opener, Think, does a great job of implementing a mandolin into the forefront. The two-step drum groove keeps the pace up and Moody's vocals are stellar.

Press Gas and Go have all of the components of a pop-rock/county tune. There's catchy guitar riffs mixed with vocal hooks that will have you humming along by the second chorus. On Love Drunk, Moody again utilizes the mandolin as lead rhythm instrument. This song falls more into the vein of roots rock a la a more southern Bob Dylan.

Finally on his title track, Moody writes a country ballad. The verses are almost spoken, and draw in the listener. The choruses are full of great harmonies and backing vocals that make this a great cap on the album!

RATING: 4 of 5 stars

Vermillon - Ryan David Orr

You know that feeling you get in when you're driving a scenic highway in the summer? There's a feeling of renewal, freshness, ease, and simplicity. That's the feeling you get from Ryan David Orr's album, Vermillon. Its a simple album, easily performed and finds its place to your heart the same way.

Right In Tow has an incredibly singable chorus. Its falsetto glides into pop perfection. On Right in Tow, the syncopated acoustic guitar strum and tambourine backs clear vocals met with harmonies.

Bottle Rocket does a nice job of harnessing what's hot in pop-mainstream, but remains true to the acoustic/americana sound Orr has established. If you could imagine a band like Snow Patrol composing a rootsy acoustic track, you have Bottle Rocket.

Finally, on Snow Globe Ballerina, his voice lilts and rises to a beautifully simple lullaby. Its lyrics succinct and instrumentation perfectly in place - not overdone, but everything in its right place.

Ryan David Orr understands his genre and succeeds within it!

RATING: 4 of 5 stars

Phoenix Rising - Double Helix

If you're a fan of tasty jazz, then Canada's Double Helix will please. Album opener, Bluesoph, is an easy listen with a great tremolo lead line. It pans back and forth and really keeps your attention. On Silver Mountain Temple, the acoustic guitar plays lead role in a more new age piece. Its complete with woodblocks and rain sticks (you can't go wrong there).

Zoloph Spaceman kicks off the track with harmonics galore. The guitar work is impressive and angular. Its songs like these that show an artists ability to play what's needed and leave out the extra. John Scofield would have a smile on this one - its truly a great work.

But perhaps their best work is on River Song. The acoustic interplay is intoxicating and is reminiscent of Tim Reynolds. The tones and playability earn serious bragging rights!

Pick up a copy of Phoenix Rising by Double Helix!

RATING: 4 of 5 stars

The Grass is Always Greener - Max and the Wild Things

Max and the Wild Things weave a sonic quality of raw textured sounds that brings you to the front of the stage. Their groove oriented and open mixing gives the feel of a live show. On Without A Sound, the band accompanies a free floating vocal lead line that feels like its leading everyone in a rockin' party. Its full and showcases a belting trumpet.

The next track, Saturday in May, steps back from the in your face party groove and acts as a more subtle track altogether. The vocals again harness a leadership quality and call the listener to attention. On You Got Your, the band steps back in time to a sound more reminiscent of the past (think oldies circa 50's & 60's).

All in all, I would have a hard time believing anyone not enjoying themselves with this album. The instrumentation harnesses a nice live quality. I would prefer more attention to the vocals, but to each their own.

RATING: 3 of 5 stars