Album Review: Sam Bergquist – Devils & Doves

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photo courtesy of Broken Jukebox Media

Backstory

I was planning to review Sam Bergquist‘s outstanding 2025 release, Racing Down the Valley, but just as it rose high enough in my review queue to start to get occasional listens while I worked, an advance of Sam’s 2026 album, Devils & Doves, landed in my inbox, so I dropped it into the queue in place of Racing Down the Valley; with my long review queue, this happens sometimes. Anyway, if Devils & Doves sounds cool to you after you read the review, be sure to also check out Sam’s previous releases, because I was psyched about potentially reviewing the previous album, too!

Album Review of Sam Bergquist: Devils & Doves

image courtesy of Broken Jukebox Media

Sam Bergquist is a singer-songwriter with a memorable storyteller’s voice, well-suited to the twangy-folk songs he writes. His most recent collection of expertly-penned numbers, Devils & Doves, was released just a couple months ago, on March 13th. Sam’s voice is wonderfully identifiable, part country, part folk, full of world-worn gravel and an emotional connection to his songs that rides palpably on the surface of each word he sings. The songs are generally in the range of what you could call a knee-slapping tempo, though obviously varied, and you’re free not to slap yourself anywhere to the rhythm of the music if you don’t want to.

The tempo of album-opener “Envy Blues” is at least as much a head-bobbing number as it is a knee-slapper, but mostly it’s just engaging, clever, and catchy. And Sam’s voice is so emotive it feels as if he’s revealing secrets when he’s really just singing clever lyrics, like “Envy, envy. I’ll be you and you be me. I hear it all the time, I want what’s yours, you want what’s mine.” Of course, the song suggests a cure for the “Envy Blues,” but I’ll suggest listening to the song to hear it for yourself. Nonetheless, it’s a fine example of the clever and insightful lyrics you’ll find on Devils & Doves.

photo courtesy of Broken Jukebox Media

“Smoke,” next, has an underlying California laid-back rock style behind clever guitar-picking and a funky, jerky-rhythmic pop vibe. It flows into “Landfill,” which is more smooth, soft, and free-flowing beneath Bergquist’s character-filled, emotive lead vocal.

“In a Box” drifts even mellower, with sparse instrumentation, particularly during the opening, setting the tone. I wouldn’t be surprised to hear this sort of thought-filled musing from a man sitting in a bayou with a guitar.

Before the album gets too mellow, though, Bergquist brings back the energy, with a bluesy guitar line supporting the semi-rocking, folk-flavored tempo of “The Rifle and the Dove.” The song evolves into a mellow vocal and guitar semi-jam at the end, then fades out neatly.

“Louisiana Lightning” puts into music the mellow, jangly musing of a veteran, and just as “In a Box” had a bayou feel to me, this song has a bayou in the lyrics – “the water’s rising on the bayou” – in a way that’s indicative of the cohesion of this record.

photo courtesy of Broken Jukebox Media

“Redwood Tree,” next, lifts both the tempo and the mood, as its playful, plucky energy – plus well-placed harmony vocals from Georgia Bowder Newton – ensure a pleasant experience, even if you’re not entirely sure what you’re listening to, though it’s apparently an ode to a redwood tree from an appreciative soul.

“Song on the Wind” is a pure Americana-folk number, with a little twang and rich instrumentation sitting atop this straightforward singer-songwriter tune, though nothing’s completely straightforward with Bergquist, as his “woooo-hoooo” vocal transition is unexpected but still wholly representative of the hint of quirkiness he brings to his songs, that je ne sais quoi that makes a song easily identifiable as a Sam Bergquist number, once you’ve become familiar with his style, even if it’s hard to explain why.

Penultimate track “Goin’ Out Walkin'” works some technology into a downhome, this-is-my-vibe kinda tune. Its increase in energy, then, serves as a nice lead-in to the album-ender, “New Day,” a song that helps close the listener’s Devils & Doves experience with a smile.

Beginning to end, Devils & Doves is engaging, though as you become familiar with the songwriting talents of Sam Bergquist, it’s not at all surprising. If you’re into folky Americana, quirkily identifiable yet comfortably familiar vocals, or clever songwriting, this is an album you should check out!

photo courtesy of Broken Jukebox Media

Looking Ahead

Devils & Doves serves as a great calling card for Sam Bergquist, as was true of his previous recordings; it’s clear he’s the sort of artist who’ll stage a memorable live performance. So be sure to check the “Shows” page of Bergquist’s website periodically to see when he’ll be playing near you.

Currently, his site lists a pair of upcoming gigs in Somerville, MA, a show at a personal favorite venue in Maynard, MA, and a house concert in Arlington, VA. Now, if you’ve never been to a house concert, in my experience, they’ve been dependably some of the most fun venues in which to experience a performance, so my DC-area readers should try to get out to this event. Of course, if I can get out of work in time for Sam’s show on July 22nd, you’ll see me, perhaps knee-slappin’ even, at Sanctuary in Maynard.

 

Album Review: The Ghouls – Handle With Care

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photo by Kira Emery; photo courtesy of Knyvet

Album Review of The Ghouls: Handle With Care

Handle With Care is the debut album from The Ghouls. It’s a raw and frequently raucous romp.

The band won the 2024 Rock & Roll Rumble and were named Rock Artist of the Year at the 2024 Boston Music Awards. In 2025, The Ghouls were again nominated in the Rock Artist of the Year category, with the Handle With Care album and the song “Lovestruck” nominated in the Album of the Year and Song of the Year categories, respectively. George Danahy (lead vocals, guitar), Peter Trainor (guitar), Jacob Babcock (bass), and Bryce Maher (drums) have taken the Boston-area music scene by storm, and deservedly so.

cover art by Peter Trainor; image courtesy of Knyvet

Handle With Care‘s opening track, “Pocket of Gold,” makes a stellar first impression, kicking off immediately with a raucous, raw, garage rock throwback energy, with just a hint of Jimmy Eat World-ish, catchy pop-punk sensibility, wrapped in a cynical but highly energetic romp of a song that I guarantee would have The Rat (Boston’s infamous Rathskeller) jumping and hopping back in its late ’80s/early ’90s era. The Ghouls are absolutely the sort of band I’d have expected to see there, though I’d be exiting the show commenting “Wow, this band is so much more memorable than the bands we usually see at The Rat. Eh, it happens sometimes; that’s why we keep going back.”

But I digress. The energy continues with song two, “Garfield,” as does the hookiness. There’s just so much barely-controlled (or perhaps not-so-controlled) frenetic energy on the this album’s first two songs. Wow!

As song three, “Lovestruck,” begins, you’ll find yourself thinking “OK, I was expecting the melancholy at some point, and here it is.” Well, sort of. The song’s intro deceives a little, as once it kicks in it’s a little peppier, though not at all energetic like the first two tracks. Still, it’s light, pleasant, with a subtle rhythmic hook and an on-brand low-fi, short guitar bridge whose musicality slightly obscures its lyrics’ introspective, oh-so-familiar indecisiveness.

“Hellbound” brings back the energy, with a heavy rhythm and offbeat edginess that serve as the song’s original flourish. “For You,” then, backtracks to the band’s airier, rawly light, introspective stylish alter ego, replete with anguished wails in the vocals.

“Scopophobia” falls somewhere between its two preceding tracks, lowkey for the first minute before bursting forth with a bit more energy, though in this rare case clearly restrained. Vocally it’s comparatively steady and temperate, mostly (for The Ghouls; not for almost anyone else), and there’s even an ’80s New Wave-ish recurring segment. Somehow, though, the song’s antiestablishment complaintancy sneaks up on you, and the last minute or so channels bands like Green Day with a vibe of full-on-noise-driven disdain. The path this track takes, it’s almost more of a composition than just a song in the typical sense, but it’s a well-designed, fun journey.

“Reach for the Sky” returns to the slow-tempo anguish. Honestly, you need a few of these respites from the unabashed energy of the rest of the tracks on the record, and only in that sense can you really call it a respite, as this and The Ghouls’ other similar songs are certainly complicated enough to keep the mind engaged, and they’re not exactly thematically relaxing. But yeah, if appreciates song sequencing, you’re gonna enjoy the various tracks’ placement on this record, with “Reach for the Sky” being a prime example.

Penultimate number “Game” is as pop as a full-on garage rock band gets. The first minute’s music bed is just light distorted guitar, helping focus attention on the semi-detachedly emotional, raw vocals. Even the more heavily instrumented parts of this record are of more a pop-rock caliber than at a garagey-alt-rock level, keeping focus on the song’s cool melody and tempo, and lyrics like the clever “I guess that’s why they call it ghosting, ’cause I feel the haunts” and the late-song repeat of “You can’t stop screaming. I’m up here dreaming. You’re gonna make me go find someone else.” The song then closes with a power build and a nifty guitar riff because, you know, this is a f*ckin’ rock band. If we’re judging by desire for repeat listens, then this probably ranks alongside “Pocket of Gold” and “Garfield,” for me at least, as must-adds to my personal playlist.

Having said that, the band closes with another contender, “Goodbye,” which is both raucous and tightly tuneful, replete with that “piss off, we’re rocking here” attitude at the core of many of the very best garage rock bands, as well as that of the song’s first-person subject, who seems blissfully unaware that his story is supposed to be a cautionary tale.

All in all, Handle With Care is a helluva rock and roll disc. If you like rock, pop-rock, garage-rock, guitars, the edgier pop-punk, or more mainstream-friendly old-school punk, The Ghouls and their award-nominated collection are a must-listen.

Single Review: Wilson Mercy – “Piece of Your Heart”

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image courtesy of Ki Talent Collective

Single Review of Wilson Mercy: “Piece of Your Heart”

Do you like energetic, seemingly-danceable pop music with a steady, catchy beat, engaging background musical flourishes, and top-shelf lead vocals? Of course you do. We all do. Upon first impression, Wilson Mercy‘s “Piece of Your Heart” seems like it’s dancefloor-ready, but the beat isn’t really fast enough to be suited to that purpose. Rather, it’s the sort of song that’ll quickly have you nodding rhythmically to the beat when you’re out in a club (but not on the dancefloor). And tapping your hands on the steering wheel when driving, well-suited to radio-play. (But hey, if you’ve got cool songs like this on your personal playlist, who needs the radio?) Or on the seat in front of you when on public transit. (So be careful in that situation.) I imagine over time you’ll learn the lead vocal line, but initially you’ll be able to sing along with the background vocals like “I, I, I wanna” and leave the lead to Wilson, whose voice is smooth but with an insistent edge, a necessary component for catchy pop music of this ilk.

This song has been pitched to me as “alternative pop,” but it’s no more alternative than someone like Rick Astley would have been back in his, with the only exception being that there was a lot more pop music on the radio back then. In that sense, I suppose, most old-school-style pop music is alternative. But hey, this is right-down-the-middle pop music for folks who appreciate catchy songs, engaging drum-driven rhythms, strong vocals, and well-written songs. Basically, most music fans. So check it out!

More Wilson Mercy

“Piece of Your Heart” was appeared on Wilson Mercy’s summer 2025 album, Digital Litter. To keep up with the latest from Wilson, be sure to follow him on Instagram or TikTok.

Single Review: Buddy Guy – “How Blues Is That”

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single cover photo by Lyndon French; image courtesy of Blind Raccoon

Single Review of Buddy Guy: “How Blues Is That” (feat. Joe Walsh)

Last summer, blues legend Buddy Guy dropped a brand new album, Ain’t Done with the Blues, on his 89th birthday. Ahead of the album’s release date, it was preceded by one of its singles, “How Blues Is That.” “How Blues Is That” is an instant blues classic, at least for any one who gets to hear it. The song itself was a cowrite of songwriters Richard Fleming and Grammy-winner Tom Hambridge. On this kickass performance, Buddy Guy’s powerful, emotive blues vocal wails are interspersed with dancing keywork work and the blistering, distorted, rockin’ blues axework of Rock and Roll Hall of Fame fretmaster Joe Walsh. If this song isn’t an instant all-time favorite, you don’t have a blue bone in your body. Blues fans (and music fans in general) should hear this song! And I haven’t listened to any of the rest of the album yet, but this tune is a strong initial calling card for it!

 

EP Review: John Gerard – Close to the Sun

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photo by Emily Joy Ashman; photo courtesy of John Gerard

EP Review of John Gerard: Close to the Sun

Close to the Sun is a 2-song EP released by Boston-based John Gerard. John’s electric guitar-driven singer-songwriter sensibility is the sort that could appeal to folk, pop, and rock fans alike, providing a broad swath of potential fans from which to draw.

John’s guitar picking and strumming is relatively barebones on the title track, “Close to the Sun,” and even the supporting sound bed is sparse, highlighting his emotional, somewhat anguished rock-style vocal wails, particularly prominent whenever the song’s energy peaks. It’s a song that’s a source of slight inspiration; it seems to acknowledge the listeners exhaustion while helping encourage “the strength to carry on.”

cover photo by Liz McGee; image courtesy of John Gerard

Second track (B side?) “Fold” builds upon the style, sound, and message of the first track. It’s still a slow-tempoed, introspective number, but the energy peaks more energetically than the title track did, and the song’s lyrical message and vocal delivery are more insistent and determined, as embodied the the song’s lyric “all the strength I’ll ever need has always been inside of me.”

More Recently

The two cool songs on John Gerard’s Close to the Sun EP are a strong introduction to his enjoyable, broad-appeal musical stylings, but they’re no longer John’s most recent releases, and his newer tracks show other sides of his song-delivery skills, so they’re worth digging into if you want a broader picture of this talented singer-songwriter. Last fall, John released a sentimental strummer entitled “New England,” and early this year, he dropped a single entitled “Drag Racing,” which is a nifty Mellencamp-ish nostalgic number.

Single Review: Jon Chesbro – “Choices”

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photo by PostFix Media/Zach Haberern; photo courtesy of Knyvet

Single Review of Jon Chesbro: “Choices”

Maine singer-songwriter Jon Chesbro released “Choices” last spring, but as I always say, if you haven’t heard it, it’s new to you. And lucky you because you get to enjoy this kickass, kinda psychedelic and spacey, introspective guitar-pop song with fresh ears.

cover photo by PostFix Media/Zach Haberern; image courtesy of Knyvet

“Choices” soars and crashes, while the vocals are inward-looking and self-examining, stylistically a little sonically detached and echoey. The tempo plods relatively slowly, but that almost feels like a slow build that sets the stage for a soaring musical liftoff during the song’s final one-third. In any case, it’s a really cool listen, enjoyable for multiple consecutive spins, if you’re so inclined.

On “Choices,” Chesbro (vocals, guitar) is joined by Robert Countie (bass), Akiba Davis (keyboards, organ), and Don Schweihofer (drums).

photo by PostFix Media/Zach Haberern; photo courtesy of Knyvet

More Recently

Since the release of “Choices,” Chesbro has dropped “One Last Dance” and “One Last Dance (Acoustic Version)” on Spotify, and earlier this year, Jon dropped a 5-song EP, Parts Bin Vol. 1, on Bandcamp.

Looking Ahead

To keep up with the latest from Jon Chesbro, follow his social media accounts at Facebook, Instagram, or YouTube.

Album Review: Sean Harrison – Ghastly Love (and Other Dubious Tales)

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photo by Denis Sayer; photo courtesy of CDA Publicity & Marketing

Album Review of Sean Harrison: Ghastly Love (and Other Dubious Tales)

Sean Harrison has one of those voices. It’s the rich, expressive voice of a modern folk troubadour. Most of all, he’s a storyteller. His lyrics are deep and thoughtfully-constructed, occasionally (OK, frequently) clever and humorous. He delivers his stories in the form of singing, mostly, but also as spoken word, when appropriate. There’s a hint of country, but at the folk storytelling end of that genre’s stylistic spectrum. And the arrangements are varied to fit the song subjects.

Sean kicks things off with an especially clever song, “Good Cover Story,” that’s a bit of a blues-folk blend with an old-school art-pop-rock beat and a noir vibe befitting its slick lyrics and crime-based subject matter. It’s a moderately energetic song that’s one of the album’s more likely tracks to reach broad appeal well beyond the record’s core audience. In other words, especially if this album doesn’t sound like it’s in your wheelhouse, maybe at least give “Good Cover Story” a listen.

“Home Where I’m Loved,” next up, is a mellow anthem for those whose home lives are a source of strength and blessing, particularly those like the songwriter whose pasts may have been a bit more scandalous.

image courtesy of CDA Publicity & Marketing

Speaking of scandalous, the next song, the title track, “Ghastly Love.” It’s the sort of song you might imagine Gomez singing to and with Morticia, flamboyantly, full-throated, imaginative, and fun.

“3 Part Strategy,” next, has a rock ‘n roll edge to it, full of energy, accompanied by bluesy distorted guitarwork, all leading to the periodical reveal of Sean’s 3-part strategy: “Get shit done!”

“Ghost of the Old Wire Road” slowly things down, going mostly spoken-word in this storytelling number, telling the story of the Old Wire Road. The song is an enthralling listen, and the topic is an interesting Wikipedia read. If you listen to the song first, you’ll recognize much of the road’s story.

Sean brings back the energy with the raucous “Black Beer,” a twangy country-rocker that’s given a memorable edge thanks to Sean’s matter-of-fact vocal delivery style, as storytelling on rockers like this as it is on the folkier-rhythmed numbers.

The uptempo, truly silly “Doggy Dog World” follows, delivering a musical ray of sunshine and catchy vocals; it’ll get stuck in your head and have you seeing the world through the wonder of a child’s eyes for days after just a few listens.

As much fun as this album is, mostly at least, it really does end on a downer, a 7-minute lightly musical examination of the awareness that the brain lives slightly longer than the body, examining a human’s “Final Thoughts.” It’s delivered a little whimsically and thoughtfully – an interesting listen – but man, the topic is serious and heavy.

As a whole, Sean Harrison’s Ghastly Love (and Other Dubious Tales) is a cool, often fun collection of songs that you really do need to hear. The guy’s a very talented true original, and you’ll find some new favorites when you give this record a listen.

Album Review: The Grand Undoing – Songs For the Sleeping

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photo courtesy of Rock Rose Music

by Eric Harabadian, Contributing Blogger

Album Review of The Grand Undoing: Songs for the Sleeping (Secret Candy Rock Records)

image courtesy of Rock Rose Music

Boston-based outfit The Grand Undoing is actually the brainchild of multi-instrumentalist singer-songwriter Seth Goodman. Over the years, Goodman has assembled a revolving door of musical characters that he enjoys making music with. And when he’s ready to craft a new album, he brings on several guests under the moniker The Grand Undoing, and the mystery and cryptic fun ensues from there.

photo courtesy of Rock Rose Music

Songs for the Sleeping is the fifth album in a series that covers various musical terrain such as power pop, psychedelia, and punk. On this current endeavor, some of those musical elements are present, but it’s more intimate and eclectic a la Peter Hammill, Nick Cave, John Cale, Lou Reed, and those similar artists of a individualist nature. It is sort of difficult to define but emotionally and spiritually effective in the way the songs grab you with their own tenor and logic.

There is a darkness and weight in the way in which Goodman delivers the songs. And the accomplished cast of sidemen gives each piece exactly what it needs. “Sing a New Morning” and “I’m Being Called” possess melodic depth, light-handed groove and an ambient feel. “Creature,” “The Knowing,” “The Sun is Stranger,” and “Now I’m Going Home” are particularly captivating in their somewhat subdued pastiche of jazzy interplay, beatnik-like lyrical patter, and cerebral complexity.

photo courtesy of Rock Rose Music

Songs for the Sleeping is a fairly accurate title as the nine songs that appear here have a somewhat hypnotic and meditative quality. Whether thinly veiled or in bold relief, Goodman freely bares his soul within these tunes, prompting the listener to join him in a dream-like state.

Looking Ahead

Although there are no upcoming performances currently scheduled, you can check the “gigs” page of The Grand Undoing’s website periodically to see when new dates are added.

To keep current with the latest news about The Grand Undoing, be sure to follow the band/Seth Goodman on social media, on Facebook or Instagram.

Live Review: Daybreak at the Stadium Theatre

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photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Daybreak

Stadium Theatre, Woonsocket, RI

April 24, 2026

When I think of romantic ’70s music, the first artist that comes to mind is Billy Joel. But in what has to be a close second at this point is Barry Manilow.  To be candid, I am a big Barry Manilow fan… or as Barry would call, a “Fanilow.” And clearly there are many Rhode Islanders who are Fanilows, as Daybreak: The Music & Passion of Barry Manilow has been performing in Woonsocket for three years and crowds continue to show up to see the songs of one of their favorite singers performed live.

photo by Luca DePalo

As the years go by, and more tribute bands continue to pop up across the country, you start to realize why it’s happening. These artists from the ’60s, ’70s, ’80s, and even ’90s, are becoming too old to tour, and many don’t have the energy they did decades ago. Barry Manilow, on the other hand, continues to tour, even at the age of 82. Last May, I had received the opportunity to attend one of Barry’s shows on his farewell tour, and coming into this show gave plenty of expectations, which I thought could never be reached. But after a concert that went for almost two hours, featuring 21 Barry Manilow we-all-know-by-heart songs, I think it’s going to be a long time before the memory of Friday night fades away.

Personally, the Stadium Theatre is the perfect location for Manilow fans. The venue celebrates a century of entertainment after being built in 1926, and even after restoration in the last decade, it still holds that vintage presence which I’ve come to appreciate more with each visit. Everything from the seats to the marquee to every little detail that brings that signature, yet unique, touch. Just looking around before the show started made me feel like we were launched back to Barry’s starting days.

photo by Luca DePalo

The show took very little time to get going, with a short band jam, before lead singer Joe Hite opened with “Daybreak,” the perfect song to not just start off the evening, but introduce the bands name! Almost instantly, I knew they had the crowd where they wanted them. It was fun to look around the venue and see the joy in various people’s faces.

About three or four years ago, Hite was a solo musician who performed background music in Florida restaurants. But now, he is convincingly embodies the pop icon Barry Manilow, from the outfits to that signature voice and the jokes with the audience throughout the performance. In my opinion, there are moments where you close your eyes and swear you’re actually hearing the real deal. Both he and his band perfectly captured the atmosphere and vibe of Barry’s shows in the 70’s.

photo by Luca DePalo

Set one was a trip down the life of Barry’s career. After “Daybreak,” the hits kept rolling: “This One’s for You,” the signature “It’s a Miracle,” the perfect ballad “Even Now,” the staple “Could It Be Magic,” and my personal favorite, “Weekend In New England,” which felt like the best song to play for the Rhode Island crowd.

With such a badass ensemble, Joe Hite fronts the band, delivering both vocals and piano on almost every track, while Amy Evans and Laura Turk provided backing vocals, drummer Ric Craig drives the perfect rhythm, bassist Val Shaffer locks in the low end to support lead guitarist Phill Fest, whose tone brings the band to life, and then both Jody Marsh and Joe Barone provide percussion, the saxophone, keyboards, and a wide variety of instruments played on all of Barry’s studio records.

photo by Luca DePalo

After a well-deserved intermission, the band returned onstage to perform nonstop hits. Before performing the Grammy award-winning “I Write The Songs,” Hite provided an interesting story. Even though Barry may have written the songs that “make the whole world sing,” he did not write “I Write The Songs.” Yet, it was written and produced by Bruce Johnston, long-time bassist for The Beach Boys. The emotional pull of the song led to a beautiful display of the room lit up from the audience’s phone lights. Of course, a set of Barry songs would not be complete without the tracks that followed: “Mandy,” “Looks Like We Made It,” “Somewhere In the Night,” and more.

One of the standout moments of the performance came when the entire theatre sang along to “Copacabana (At the Copa),” turning the show into a full-on celebration, where the band’s female backing vocalists came out in atheistic attire. The band didn’t just play the songs, yet, they recreated the feeling of a classic Barry Manilow concert, blending nostalgia with genuine excitement. It was captivating from start to finish. That Friday evening in Woonsocket felt like a celebration where everybody unified together during a time of disagreement.

Don’t forget, keep supporting live music, and go see Daybreak: The Music & Passion of Barry Manilow when they return next spring to the Stadium Theatre!

Album Review: Euphoria Station – Smoking Gun

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image courtesy of Rock Rose Music

by Eric Harabadian, Contributing Blogger

Album Review of Euphoria Station: Smoking Gun (Reverie Suite Records)

Saskia Kraft van Ermel and Hoyt Binder are vocalist and guitarist, respectively, for the critically acclaimed project and band known as Euphoria Station. Their musical roots are firmly planted in Southern rock and outfits like The Marshall Tucker Band, The Allman Brothers Band , The Outlaws, and, even, Kansas. In fact, they pay homage to Marshall Tucker by covering the band’s signature “Take the Highway.”

photo courtesy of Rock Rose Music

Kraft van Ermal and Binder are joined on this album by such guest heavy hitters as drummer Toss Panos (Robben Ford) and bassist Jorgen Carlsson (Gov’t Mule), along with the usual suspects Ronald van Deurzen on keyboards, Rebecca Kleinmann on flute and Tollak Ollestad on harmonica. The result is an album that is ultra intense. It’s a confluence of melodic vocals, screaming guitars, progressive rhythms and a unique mix of Americana flavors and epic soundscapes and themes.

photo courtesy of Rock Rose Music

Kraft van Ermel has a very distinctive vocal presence that blends poetry, melody, and a spiritual centeredness. As a counterpart, Binder is a whirlwind of a guitarist who reaches for the almost impossible note or phrase to either stun your senses or transport you to another stratosphere.

Songs like “Smoking Gun,” “Off the Beaten Path,” and “Here with You” bristle with an energy that is at once infectious and soothing. The lyrics are whimsical, mystical, and engaging while the music is impeccably arranged, yet grounded and organic.

“My Mistake” and “Sweep Me Away” are powerful in the way they shift moods and motifs from ebullient and declarative to radio-friendly power pop. Perhaps “Living for Today” sort of typifies the genius of the Euphoria Station sound in that they are able to synthesize odd time signatures, dense orchestration, beautiful stacked vocals and sophisticated chord sequences into a single bound.

photo courtesy of Rock Rose Music

Kraft van Ermel and Binder’s production is ambitious and all-encompassing. It will set the listener squarely in the driver’s seat. And that’s a good place to be. It’s a wild ride that should be familiar to many classic rock and blues-rock fans, while standing alone in its own space and time.