Album Review: Kristian Montgomery & the Winterkill Band – Soul Family

Posted on by

image courtesy of Kristian Montgomery

Album Review of Kristian Montgomery & the Winterkill Band: Soul Family

You know we’re big fans of Kristian Montgomery & the Winterkill Band here at the Blog. Both contributor Eric Harabadian and I have written at length about how Montgomery’s albums are exceptionally unique, original, and damn catchy. Well, at the risk of repeating myself, this is yet another must-hear, must-own album from one of New England’s most talented rock performers. Or is his style Americana? What category does swampy, blues-based, catchy, rock guitar-filled yet with a hint of bluesy country-rock music fall into? I don’t care. I’m just gonna call this a rock album. One of the best, as is always the case with the talented Kristian Montgomery & the Winterkill Band. The hard-to-categorize part is also a Montgomery constant.

There is an element of Montgomery’s past releases that seems largely absent from this album – the barely-contained seething rage. It’s not nearly as present in this record, but the music doesn’t suffer at all for it. Rather, it seems to underpin a new artistic creativity that helps make Soul Family a tremendous listen. Not just a continuation of the previous style. Rather, another step on the artist’s evolution, grounded in the same underlying sound but delivering a new collection of engaging, catchy, original songs. And still often edgy. It’s an evolution, not an abrupt change, after all. Every song on Soul Family seems well-crafted, and they’re all typical close-your-eyes-and-enjoy-it kinds of listens.

Personally, I think this is my favorite Kristian Montgomery & the Winterkill Band album. The variety, the rockin’ness, the guitar runs, Montgomery’s vocal wail on some songs and gravel on others. Just wow! Then again, I always think every new KMWKB album is my favorite, if only because it’s the newest. As Barney Stinson famously said, “New is always better!” In the case of Soul Family, I can at least safely say it’s new, it rocks, and right now, it’s my favorite KMWKB album!

About that album, well, in what’s always a good sign for any album, Soul Family gets off on the right foot. And by that, I mean album-opener “This is How We Roll” kicks things off with a catchy guitar line and then strings together a few singalongable “oh woah woah-oh”s. I’m a big proponent of starting an album with a crisp attention-grabbing sequence that pulls the listener in quickly, eliciting an fast feeling of “oh, my, this is good!” Of course, that’s not all there is to this song. The rhythm eases along pleasantly for a little more than a minute, then slowly amps up. It’s got a smooth, Americana-ish groove and yes, has plenty of that Kristian Montgomery vocal wail, as well as nifty, at-times-gritty guitarwork. And holy crap, that wail at the end! Just as the opening guitarwork was, that, too, is the sign of a bigtime musical talent whose songwriting ability extends to knowing a thing or two about song arrangement, too!

“Brotherhood of Ghosts” is a laidback look back at times gone by. This is a swampy, sidewinding, crunchy blues grinder but with interestingly smooth vocal transitions, just setting the listener up for the next blues-rock rhythmic punch. And, oh, that awesome showy guitarwork late in the song.

“The Last Time I Loved You” is the record’s first slower-tempoed, heartfelt semi-wailer, a blues-rocker that’ll strike you through the heart with lyrics like “the last time I loved you kicked my ass.” “Home,” next, is a grainy, distraught blues-rocker, very cool with some guitar flourishes and a neat little funky rhythm in a couple spots to occasionally draw your attention away from the anguish in the lyrics; it’s a powerful-ass song!

And yet, this must be the funky section of the album, as there’s a little slappin’ funky rhythmwork driving “Listen to My Body.” This song has a cool groove, and I catch myself singing along “ahh-ahh,” especially during the late-song shredding axework. “As Fast As You Can,” then, edges back toward more straightforward blues-rock, especially in the chorus, though the verses are more akin to what you’d expect from one of John Cougar Mellencamp’s edgier cousins. You know, because even though some of the music in the verses has hints of Americana in it, the music amps up in the verses and bridges, and I can’t quite imagine Jack telling Diane “You better love me as fast as you can.”

“Don’t Be Afraid to Be Born” follows. It’s got a catchy southern soft rock vibe with maybe even a little Georgia Satellites in there. You can hear a bigger, more open guitar sound for the first time on the album during this track. The song itself just has that big, arena rock feel while simultaneous sporting a more intimate energy. Well, maybe not intimate exactly, but certainly personal and message-carrying.

“Just My Saturday Night” is a funky, deep-grooved blues-based rocker. You might say that the attitude that came through as anger in past KMWKB releases shows up strongest on Soul Family in this song, redirected though as swagger. And oh, it’s mandatory to listen to the lyrics on this one. The first-person character in this song is an absolute dawg! Also, circling back to earlier in the review, this could have been a candidate to be Barney Stinson’s personal theme song. I don’t know why I didn’t think of that until just now. Ah, never mind, just soak into the song’s nasty bluesiness.

“I Can Live Without Your Memory” is a slightly funky thumper that uses a playful recurring guitar riff to add a lightness and sense of sunniness to the song, which is more pleasantly enjoyable than the song title might suggest. Or perhaps exactly what the defiantly triumphant song title might suggest, if that’s the way you read it. Regardless, in such a hard rockin’ album, the airiness, lightness, and presence of so much free space in this track is a nice palate cleanser in addition to being an absolutely fun song in its own right. Personally, I often raise my arms and scream along with the “yeah”s late in the song. It’s fun. Try it!

“Find Your Truth” is almost prog rock dressed up as a ballad. It’s not quite as airy as the preceding number, but it’s pretty soft and chill; indeed, it’s the back half of a two-song break in the album’s frequently-wall-of-sound intensity. “Find Your Truth” exudes comfort with what is, verbally in the lyrics and musically in the pacing and arrangement. And yet both of those elements also serve as the foundation for a soft defiance, subtler than in the prior number but still present, making the two songs a nice back-to-back pairing.

The tension picks up again on “Steady As She Goes,” which builds to being a mid-tempo guitar rock number, interrupted from time to time by a prominent funky-bluesy guitar riff in the verses.

The penultimate track, “A Lot More” brings back the guitar crunch, slowly ascending to a cool, mid-speed tempo and exploding – well not exactly exploding – let’s say opening up into a big, airy, rich bluesy rock sound. And is that prominent organ I hear? Plus a good ol’ shredding guitar solo! There’s a drum-driven build out of a late-song soft stretch, too. It’s one of those rock numbers with a little of everything, all built around a recurring, catchy, singalongable chorus of “there’s a lot more, there’s a lot more, there’s a lot where that came from.” Ohhhh, yeah!

Not to be outdone – not by the previous song or really any of the others on the record – is album-ender “Jeg Elsker Deg.” Norwegian for “I love you,” in case you couldn’t easily guess from the song’s context. It’s a soft, sweet number that builds and builds in power until the title is heartily screamed by late in the track. And by the climax halfway through the back half of the song, it’s intensely screamed, and you’ll find yourself screaming along with the lyric “jeg elsker deg!” Then the song softens and eventually fades. As much as I noted that the nifty guitar riff at the beginning of the first song was the ideal way to start an album, this is an exceptional way to end one. For those of us who like a well-sequenced beginning to end album listen, Soul Family is a great record.

Blues fans, blues-rock fans, rock fans, guitar rock fans, fans of songwriting, album sequencing… music fans: Kristian Montgomery and the Winterkill Band is one of those deserving, undiscovered (well, not by enough people) bands that’s the reason I’m compelled to share music reviews. I mean, that and the fact that I enjoy writing them. As for the band, despite having a decent-sized following (I mean, 2,500 Facebook followers and a similar number of Instagram followers is better than a lot of local acts), KMWKB remains criminally undiscovered. I heartily recommend getting to know this band. And Soul Family is a great album with which to start.

EP Review: Derek Smith and the Cosmic Vultures – Songs from the Plastic Ballroom

Posted on by

photo by Gia Smith; cover design by Derek Smith; image courtesy of Knyvet

EP Review of Derek Smith and the Cosmic Vultures: Songs from the Plastic Ballroom

I always feel like Derek Smith and the Cosmic Vultures are throwing me back to the ’70s, to the golden age of radio-friendly, soft album oriented rock. The four songs on this latest all-new collection live in that same universe – throwback, moderately progressive, exceptionally accessible rock from a time gone by, though not exactly, as there are elements in the music that flag it as more modern, whether rhythms more likely to be found in modern music or simply a modern angle in the production. Regardless, this is yet another collection of well-written songs steeped in an earlier rock era. As for that well-written bit, indeed, Derek Smith‘s songwriting talent has garnered notice, most recently with a Songwriter of the Year nomination from the New England Music Awards.

First track “Rolling Over” is a song whose straightforward rock approach is mostly unwavering, while its steady, uncomplicated beats and regimented vocal pattern are augmented by full-on background harmonies and something about the vocal delivery that makes me, personally at least, picture a character who sings out of one side of his mouth. You know, like in the cartoons.

“I Don’t Wanna See You Cry” leans even harder into that ’70s sound, so much so that the high vocals and psychedelic musical elements will have you exclaiming, “Man, that’s groovy!” Yes, it is. The song features soft-touch phrasing and just enough instrumentation to fill in the gaps yet make it feel like the soundbed is full-on and rich. What a cool arrangement! And an era-appropriate quick fade.

“Astral Days” is the “put-your-hands-up and dance” song on this EP. It meanders a little, like any progressive classic rock number. Yeah, I know, “progressive” at under 3 minutes? That really is cutting edge! But Smith packs a lot into this short track. Again, like a period piece from album rock’s heyday, it’ll transport you back in time. To a carnival, perhaps, given the circus-esque musical style that periodically invades this tune. It’s really cool, never really settles into a groove, and as a listener, you won’t mind one bit. You’ll almost certainly sing along each time Smith sings “and all the people say” with “ohh, ohh, ohh, ohh.” Oh, yeah, such fun!

“Surreal World” opens with a reference to “the sarcasm store”? [snort-laugh] Love it! Truly a surreal world. This song actually reminds me of something the Beatles might have attempted in their more experimental, adventurous numbers. The chorus sways nicely, serving as a central focal point upon which Smith can riff musically, as he does occasionally, but it returns to center often enough for the song to sound cohesive, and the fade out at the end is a nice way to bring this 4-song collection to a close.

For those who haven’t heard Smith’s music before, this is a nice sampler-caliber introduction to a songwriter whose creativity you’ll come to value, whose future releases you’ll look forward to. And, of course, whose music you’ll enjoy listening to, preferably long-form, with headphones on, in a single sitting. For a suitably long sitting, you’d need to pair Songs from the Plastic Ballroom with other Smith releases or play it on repeat, unless you consider not quite a dozen minutes to be a suitably long way to enjoy classic, ’70s-inspired album-oriented rock. But you get the point.

photo by Gia Smith; cover design by Derek Smith; image courtesy of Knyvet

More Recently

I said Songs from the Plastic Ballroom was Derek’s latest all-new collection? Yes, but it’s not his most release release. That honor goes to Cosmic Collection: The Very Best of Derek Smith Volume 1, a 33-minute record (hey, that solves the problem of what to play back-to-back with …Plastic Ballroom!) that contains 10 songs from Smith’s prior work. The Very Best album includes “White Spade Symphony,” a truly inspired, incredible song I reviewed nearly two years ago, “The Puppets of Hypocrisy,” from Temporary Circus: Act 1, which Eric Harabadian reviewed here at the blog nearly a year and a half ago, and eight more songs from Smith’s past releases, starting with the very cool, atmospherically emotional Southern blues-rock-influenced “Black Angel,” which… well, I’m not going to write a whole other album review right here under the “More Recently” subheader. Cosmic Collection is a record you’ll just have to discover on your own. (And you should!)

 

 

EP Review: Satch Kerans Band – Gotta Be Better

Posted on by

photo courtesy of Satch Kerans

EP Review of Satch Kerans Band: Gotta Be Better (Five Short Stories)

Now this is rock and roll! Catchy, full of hooks, a little garagey at times, mixing in some blues influenced from time to time, as well as classic, punk, and mainstream rock threads. The Satch Kerans Band brings some cool rock ‘n roll variety on Gotta Be Better, wrapped up in a cohesive, trademark sound. It’s an engaging sound, one that earned the band a Rock Act of the Year nomination from the New England Music Awards this year.

The band members on this record are Satch Kerans (vocals, guitar), George Hall (lead guitar, backup vocals), Jamie Griffith (bass), Roger Brockelbank (drums), and Brad Hallen (bass on “Those Lies”).

The first of the EP’s five songs, the title track “Gotta Get Better,” kicks off with a grainy, catchy guitar riff, an auspicious start. And the song doesn’t disappoint. You almost wonder if it’s gonna go rockabilly early on, but then the vocals kick in, and it’s broad-appeal yet a little raw. There’s a recurring guitar twang and vocal cadence from time to time that remind me of Sheryl Crow’s “All I Wanna Do,” but not exactly. More like the timeless rock ‘n roll Crow’s song reminds me of, more old-fashioned rock ‘n roll than anything specific. From a pure catchiness perspective, this is my favorite song on the record. But not by much, as there’s no weak link among the quintet of songs.

image courtesy of Satch Kerans

Track two, “Do Ya,” leans into jangly guitar and a steadily progressive pace, but the guitarwork adds just enough of a hook to hold your attention. If there’s a band this recalls for me, it’s classic rockers The Doughboys, who I reviewed here at the blog a few years ago. I also dig the reference to Willie Nile, a New York icon I reviewed just last year, though “Do Ya” references his hairstyle, not his music.

While “Gotta Be Better” is probably my favorite song on this EP from a purely musical standpoint, “Helen of Troy (NY)” is probably my favorite song overall, music and lyrics combined. In its case, “Helen of Troy (NY)” features lyrics as clever as the guitar line that meanders among them.

Penultimate track “Those Lies” is a straightforward, hooky garage rocker. After it, the EP is closed by “Wearing His Pain,” a hoarsely sung, more matter-of-fact than pleading rocker, its straightforward modest-tempo rock approach – what you might expect from a lyric-driven folk rock number – supplemented by harmony vocals and a guitar riff following the chorus that almost sound like its crying, in line with the lyrics.

It’s a nifty five-song collection, a great introduction to a versatile old-school rock band, the engaging Satch Kerans Band.

Looking Ahead

Boston-area rock fans can catch the Satch Kerans Band next week – and this is definitely a band whose sound will translate well to a live performance! – at the Square Root in Roslindale on November 19th.

Album Review: Today Junior – Stranger Days

Posted on by

photo by Jonathan Hislop Photography; photo courtesy of Knyvet

Album Review of Today Junior: Stranger Days

One of the advantages of a long review queue is that, after I decide to add an album to the queue, it’s often weeks later that I first really dig into the record’s sound. The advantage is that it’s weeks or more since I last read anything about the music – even the subject line of the e-mail – so my description really is my impression of the record. In this case, I decided Today’s Junior‘s sound might be best-described as “laid-back surf pop-punk.” Curious, I checked out the band’s press release, and it refers to Today Junior as “indie fuzz-punk surf-rock.” I like that, too. It adds language that captures the band’s low-fi alt-rock production and the kind of fuzzy veneer on the guitarwork that I hadn’t quite captured in my quick descriptor. When you listen to Today Junior’s new album Stranger Days, you’ll hear a sound that encompasses both of those descriptive phrases.

Boston-based Today Junior is comprised of Harry O’Toole (guitar, lead vocals), Mike O’Toole (drums, percussion, backing vocals, harmonies), and Jonathan Hislop (bass, backing vocals). And Stranger Days is the band’s first full-length album since its self-titled 2023 release.

artwork by Harry O’Toole; image courtesy of Knyvet

The album Stranger Days is a fun full-length listen, as it contains a sound you can just melt into, easily missing the fact that you’ve just misplaced 37 minutes of your life to a single groovy style. The sound is comprised of jammin’ guitarwork, steadily thumping drums, and a kind of soft-touch vocal that’s probably the one element I wouldn’t say is really very much pop-punk. Rather, it’s got a laid-back surf feeling, as does some of the guitarwork, when it’s not jamming. Combined, the song has a sort of sunny twang, though with a noisy buzz befitting low-fi alt-rock.

While the album is permeated by a relatively steady groove, and many of the songs are relatively unassuming – pleasant and enjoyable but unassuming – a few tracks are notably attention-grabbing. One of those is the very first song, “If You Want To.” I absolutely suggest putting a catchy song first, particularly one that delivers a fun energy from the get-go, and the swirling guitar at the beginning of “If You Want To” is ideal in that regard. The song is a moderately high energy number with a cool guitar part and the repeated, eminently singalongable line: “If you want to, we could let go. Just hold my hand. Baby, let’s go.” Yes, you’ll be singing along by the end of the song. And in a live setting, the joint will be buzzing with energy. It’s not the only time on the disc Today Junior gets this energetic – they are a punk band, after all – but it’s at the peppier end of the songs on this record.

photo by Jonathan Hislop Photography; photo courtesy of Knyvet

“Werewolves of Boston” and “Keep On Pushing Me” are a couple of the other peppier songs on the record, though not quite as energetic as “If You Want To.” Maybe in spots, but not overall. “From the Sun” also clocks in with a moderately strong energy level, with the very surf-rock opening providing the first hint; indeed, the rhythm section keeps things pretty uptempo throughout, and there’s a cool lyric “ah-oo-ah-oo-ooh” that’s a fun singalong, though I tend to start howling when I sing along sometimes; the song doesn’t, but I do because it’s just plain fun. At least it’s in the spirit of the song.

Much of the rest of the album is a little more laid-back. And that’s a cool thing. There are some clever guitar sounds in “Wide Awake” worth listening for. “Coastlines” provides a pleasant road trip flavor – and lyrics like “let’s ride to the coast” help that feeling; combined with some interesting strumming and picking pattern, this is a song I’d pick as a favorite among the relaxed numbers.

And finally it’s worth calling out title track “Stranger Days,” which offers a little different feel, softly lilting harmonies, offering the sort of variety that’s an important component of an enjoyable full-album listen. And it’s a cool number that hints a little at psychedelic rock while offering a softer energy, likely to make it the favorite Today Junior song among one subsegment of the band’s fan base.

Beginning to end, the ten songs on Today Junior’s Stranger Days are a fun listen. And for alt-rock fans, soft-touch poppy punk fans, and those looking for a stylish long-form listen, I wholeheartedly recommend checking out this Today Junior album.

Looking Ahead

Today Junior earned a New England Music Awards nomination in the Punk Rock Act of the Year category. Winners will be announced on November 15th.

You can catch Today Junior live on Saturday, November 28th at Deep Cuts in Medford, MA. They’ll be part of a 4-band bill with K.C.U.F., Unseemlier, and Grub Lord.

 

Single Review: Fiori del Male – “Allarme Rosso nel Golfo Persico”

Posted on by

photo courtesy of Fiori del Male

Single Review of Fiori del Male: “Allarme Rosso nel Golfo Persico”

Fiori del Male (English translation: Flowers of Evil) is an Italian rock band originally formed in the early ’90s, centered around brothers Nunzio and Claudio Ciccone. The band wrote the song “Allarme Rosso nel Golfo Persico” (which translates to English as “Red Alert in the Persian Gulf”) originally in 1991 during the Persian Gulf War era.

image courtesy of Fiori del Male

The song was released this year, in 2026, 35 years after it was written, recorded with all-new instrumentation but combining the new recording with the original 1991 vocals. Credits for this recording are Nunzio Ciccone (vocals, author/composer), Claudio Ciccone (DJ, production, project co-founder), Andrea Palazzo (guitar, arrangements), Enzo Esposito (bass), and Roberto Zincone (drums).

photo courtesy of Fiori del Male

This year has been an interesting one for the band with the release of the song and its accompanying video, which you can watch here on YouTube. In addition, Fiori del Male won a finalist spot at the Sanremo Rock & Trend Festival 2026. You can see and hear the Sanremo finals performance here on this Instagram reel.

Now that I’ve set the background, let’s talk about the song itself. “Allarme Rosso nel Golfo Persico” is a classic guitar rock fan’s dream number. There’s a hint of a progressive rock approach, with soaring guitarwork and a big, theatrical production style lending a prog rock feel that’s only enhanced by the song’s very prog-like five-plus minute runtime. However, this song is also a throwback to the days when progressive rock was popularly accessible, with a catchy rhythm, hooky guitar runs, and vocals that build to powerful choruses. And, oh my god, the guitar runs, especially toward the end of the song, are positively shredding!

historical photo of Fiori del Male courtesy of the band

Personally, I don’t speak a word of Italian, but it doesn’t matter; this song is a fun, catchy, guitar-rock romp, one that any and every fan of rockin’ axework is going to enjoy. I’m so glad this song found its way to my music collection; if you dig this style of music, check out this song and absolutely add it to your collection, too!

You can learn more about Fiori del Male at the band’s website. (English-speakers, just have Google translate it to English for you.) You can also follow the band’s journey via Fiori del Male’s Instagram account.

EP Review: Baxter Hall – The Work

Posted on by

photo by Adriana Arguijo Gutierrez; photo courtesy of Knyvet

EP Review of Baxter Hall: The Work

Baxter Hall has the tools to be one of those transcendent artists whose appeal goes well beyond his genre. That genre, at least on The Work, is acoustic-ish singer-songwriter. The arrangement leans folk, but not in the exclusionary way that term can sometimes mean. And that’s because there’s some nifty pop-rock singer-songwriter feel to these songs, too, landing the Americana descriptor for his music sometimes, too. On The Work, Hall keeps it simple, but that simplicity belies the richness of the EP’s production. So, too, could I see more elaborate arrangements taking Hall’s songs in multiple directions, though again, the arrangements are more complicated than they seem at first glance. Regardless, this is a helluvan introduction to Hall. It’s going to be exciting to see where he takes his skills next. I’d say his career ceiling is atmospheric, in the company of soft-touch broad-appeal singer-songwriters like John Mayer, Jason Mraz, or Andy Grammer. Superstardom notwithstanding, a less-spectacular but steady career with longevity in the folk-rock world would be another great possible result for Hall.

EP artwork by Baxter Hall, Bella Lepore Hall and Alandra Hall; image courtesy of Knyvet

For now, though, let’s focus on The Work. Herein Hall has presented us with a rich, engaging, peppy, acoustic-leaning record with a lot more variety than you’ll probably initially expect if you’ve only heard a single song.

“You Were the One” opens the EP with a sunshiny pleasantness, musically anyway. I know there are two sides to every story, but as the first-person voice in the song, Hall makes his convincingly. Based on the lyrics, this song should be heavy and a little resentful, but the healthy mental approach in the lyrics is matched by the song’s cheery tunefulness, replete with nifty little playful guitar riffs right out of the textbook for ’70s light pop singer-songwriter radio hits. I think Jim Croce would be proud of this one.

photo by Adriana Arguijo Gutierrez; photo courtesy of Knyvet

The EP’s pre-release single, “The Work,” opens with a more finger-picking guitar style before thumping strumming takes over, as the guitar and vocal volumes both pick up. It’s an insightful song with cool lyrics like “despite what you’ve heard, not all hurt people make people hurt.” The lyrics are the sort that suggest the songwriter knows a thing or two about family therapy and the theories underpinning it. And the song builds into a rich, booming, catchy pop-rock-folk number.

Song three of four, “Tricks” is an enjoyable swayer with a nifty guitar pattern, a bouncing rhythm, and a coolly subtle musical surge to power to emphasize the chorus. This track also sports a nice lyrical repeat for the last minute that’ll get listeners singing along. And a fadeout. You know how you don’t hear song fadeouts anymore? Well, now they sound fresh again, and that lyrical repeat to fadeout is exactly the right way to engineer one – Hall knows what he’s doing.

Finally, “Way Too Easy” is a playful, energetic, cheerful song calling out a narcissist in no uncertain words. It’s a fun romp that leads to the payoff chorus line of “You made walkin’ away way too easy.” And the guitar riffs – the buzzy little playful one that mingles with the lyrics and the more energetic one that provides emphasis in key spots here and there – may not be as easily noticeable behind Hall’s engaging vocal style, but they’re what makes this song special.

I can’t tell you which of the songs I prefer most. I think choosing “The Work” for the first single was the right move, as it’s the most powerful. For the second single, I’m torn between “You Were the One” and “Way Too Easy,” probably leaning toward “Way Too Easy” because “You Were the One” is a little more laid back and might play well as a third single. Finally, “Tricks” will be a favorite among some, but I think that’ll be a more selective subset of listeners. Then again, what do I know? That swirling lyrical repeat is really cool, so maybe that’ll be the biggest hit.

Four killer songs on a four-song EP is a good problem to have. And, of course, for the listener, it’s not a problem; rather it’s a delight. Folk, pop, singer-songwriter, hooky soft rock… if you’re a fan of any of those styles of music, I heartily recommend Baxter Hall’s The Work.

Additional Notes

Baxter Hall was nominated for two Boston Music Awards this year. He is up for an award in the Singer/Songwriter of the Year category, and his single “The Work” has been nominated for Song of the Year. He’ll find out if he won during the BMAs’ December 16th ceremony.

Single Review: Donnie Vie – “Plain Jane” b/w “Instant Karma”

Posted on by

image courtesy of Earshot Media

Single Review of Donnie Vie: “Plain Jane” b/w “Instant Karma”

Early this year, Donnie Vie released the 7-inch single, “Plain Jane,” with a cover of John Lennon’s “Instant Karma” as its B side. Both songs previously appeared on Vie’s 2019 Beautiful Things album, with “Instant Karma” being a bonus track on some editions. The 7-inch single was released in advance of the release of a remastered version of the album this summer. Rock ‘n roll fans, of course, will know Donnie Vie best as the lead singer of the prolific Chicago-based band Enuff Z’Nuff. Of course, that band’s 1989 debut record spawned rock hits “New Thing” and “Fly High, Michelle.” Then, as today, Vie is a dynamic, skilled vocalist with his own trademark sound, best described as throwback and Beatles-esque – well, somewhere between the Beatles and Cheap Trick, actually; his singing will, at times, absolutely remind you of Robin Zander.

The pair of songs on this single both fit that description. “Plain Jane” is tuneful, catchy, full of guitar hooks, well-placed harmony vocals, and feel-good rock/power-pop energy. It also clocks in at well under 3 minutes, meaning that it ends almost too soon, as it’s such an enjoyable romp.

Vie’s rich, vibrant vocals have an actual hint of gravel in them, from time to time, during his “Instant Karma” cover, providing an emotional edge to this song. Vie’s vocal phrasing, too, is enjoyably dynamic, as his vocals move around a bit within the sweet spot of the song’s melody. Drumming is also lively on this number, which is a raucously joyful – and incredibly catchy – affair. I suppose that’s not surprising, since we’ve all heard this song for decades, just with Lennon’s vocals. Vie’s cover absolutely does the original justice; rock fans, I guarantee you’re gonna dig it. To add another throwback phrase, this tune’s groovy, man!

More Recently

As I mentioned, Vie recently released a remastered version of his 2019 Beautiful Things album. My personal favorites on that record are the two songs from this 7-inch single plus its title track, “Beautiful Things,” though I never skip any songs when listening to it from beginning to end, so the whole record is solid.

If you’re familiar with Donnie Vie, you’ll know to expect the high quality on this 7-inch single and the entire album. If you only know him from Enuff Z’Nuff, his solo stuff is simply more of what you love about his timeless, throwback vocal style. And if you don’t know Vie or his former band, this single – and the Beautiful Things album – would make a great introduction.

Single Reviews: The Eyetraps – “The Sound of It” and “Every Word”

Posted on by

photo by Owen Leavey (@owenleavey); photo courtesy of The Eyetraps

Single Reviews of The Eyetraps: “The Sound of It” and “Every Word”

The Eyetraps, nominees for the New England Music Awards‘ “Rising Star: Vermont” award this year, are a Burlington-based four-piece rock band that delivers an impeccable throwback college rock sound. Very 1995, in the best possible way.

The Eyetraps are Alex Frantz (lead vocals, guitar), Zack Shafer (backing vocals, lead guitar), Phil Smith (backing vocals, bass), and Sophie Powell (drums). The band followed up its eponymous 2025 debut EP with a pair of fun singles in 2026.

artwork created and designed by Alex Frantz; image courtesy of The Eyetraps

The first of those 2026 singles, “The Sound of It,” sports crunchy guitars, a distorted bass line, comparatively light-touch drums (for the most part), and somewhat echoey vocals with a distinctively college rock, almost seemingly disinterested delivery much of the time, though the vox elevate in intensity when delivering the key chorus vocals. The song is catchy when it’s focused on the melody. But, of course, it’s a college rock track, so it descends into noise and chaos, particularly on the back half, something that’s sure to delight an audience of slightly buzzed, kind-of-sweaty undergrads. Or others of us who enjoy this sound, perhaps including those college students’ parents who listened to music like this 31 years ago.

artwork created and designed by Alex Frantz; image courtesy of The Eyetraps

“Every Word” starts a little slower then builds into coolness. Well, that’s not entirely fair. The light instrumentation supporting vocals that I’d call “wispy with an edge” for most of the first half-minute is pretty cool. The vox are joined with buzzy, jangly, distorted guitarwork that doesn’t really hit full buzzy noisiness until about 45 seconds in. “Every Word” then retains its noisy intensity, as the musical and vocal patterns change and remain different for the rest of the track. I mean, yeah, there’s a soaring bridge in there, too, but that’s just part of the song structure, not a true softening of the buzzy college rock noise. As a nifty closing touch, the very final line is nearly unaccompanied, a repeat of the song’s opening line, “Every word is more than rain.” Don’t ask me to explain the lyric. Pay attention. It’s a cool song and deserves that.

These two tracks are a great introduction to The Eyetraps. If you like that buzzy college rock sound, they do it exceptionally well. And if you like what you hear, there’s also the 2025 self-titled EP to check out (as I’m going to) to get help scratch that Eyetraps itch while you wait for more new tuneage.

Single Review: Nathalie Miller – “You’re in My Bed”

Posted on by

photo by Ana Watterson; creative direction by Palmer Wells; photo courtesy of Knyvet

Single Review of Nathalie Miller: “you’re in my bed”

Nathalie Miller specializes a brand of dreamy alt-pop that often borders on shoegaze. And, while that’s not all-encompassing when you listen to a broader collection of Nathalie’s work, it’s certainly an apt description of “you’re in my bed.” Indeed, the word “borders” is doing a lot of the heavy lifting in that description. There’s also an almost Taylor Swift-like picture-painting lyrical pattern, quite stylistically and engagingly drawing the listener in with intriguing lyrics, even as the enjoyable bouncing sway of the music distracts the listener from the lyrics, drawing the focus to the song’s ever-growing tuneful instrumental cacophony.

image courtesy of Knyvet

In many ways, “you’re in my bed” reminds me of my favorite songs from Nathalie’s Like You Used To EP, “Kansas,” which contains a similarly distracting tuneful soft-pop sway. However, whereas “Kansas” was about a friendship breakup, “you’re in my bed” speaks to a romantic relationship split. Yet, I’ve gotta say, the pleasant sway of “you’re in my bed”… well, it’s almost worth a painful breakup if it results in a song like this, isn’t it? You know, hypothetically speaking. The song begins in a state of soft melancholy, but as the orchestral soundbed builds, so does the vocals’ soft power, and I’d defy you not to get increasingly sucked into the musical vortex by the time the background vocals kick in with an “ooh ooh ooh” late in the song. Then, just as that power builds, the song ends all too soon. Like a disappearing lover, I suppose. Fortunately, as a listener, if you want a little more, you can just start the song over again. Oh, and you will.

photo by Ana Watterson; creative direction by Palmer Wells; photo courtesy of Knyvet

The song is so engaging, in part, because of its honesty, as it drew from real life. As Nathalie is quoted in the press material, “‘you’re in my bed’ is about being haunted by someone everywhere you go, even though they’re not actually there. Like ‘you’re in my bed’ even when you’re not. When this relationship I was writing about ended, literally everything reminded me of her, even things that had nothing to do with her.”

So I’ll return to what I wrote earlier, that it’s almost worth a painful breakup if it results in a song like this, isn’t it? I guess only Nathalie can answer that. But hey, we can enjoy this cool song that sprang from that pain. And if you like soft alt-pop at all, I bet you will.

Album Review: Bob Seger – Face the Promise (Expanded Edition)

Posted on by

photo by Clay Patrick McBridge; photo courtesy of UMe

Album Review of Bob Seger: Face the Promise (Expanded Edition) (Capitol/UMe)

20 years ago, I had recently stepped away from music journalism – and new music discovery in general – so I missed the release of Bob Seger‘s Face the Promise. It was a strong album for Seger, debuting at number four on the Billboard 200 chart and achieving RIAA platinum certification in just three months. Flash forward, and recently, in September, Capitol/UMe celebrated the album’s 20th anniversary with a 16-song “expanded edition,” featuring three previously unreleased songs and one track that had been an exclusive-to-iTunes bonus track, “Red Eye to Memphis.” Audiophiles will also appreciate that this release is also the album’s first-ever 2 LP vinyl release. And more than just a straight rerelease, even the original dozen tracks on this edition of Face the Promise were newly remastered by longtime Seger mastering engineer Robert Vosgien.

Since none of the songs on this record broke significantly into mainstream consciousness – clearly just a sign of the times, since this is a kickass, trademark Bob Seger-style rock album – discovering this music now has been a treat for me. (I’d have said “spoiler alert” but you know I only review music I like, that I think you’ll want to and need to hear.) You know how I frequently say “If you haven’t heard it, it’s new to you!”? Well, Face the Promise is new to me, and I’ve been having so much fun getting to know this “new” Bob Seger album! I’m sure you’ll feel the same way if it’s new to you.

image courtesy of UMe

The record kicks off with crunchy guitar riffs, opening a classic Seger-styled rocker, “Wreck This Heart.” It’s an uptempo number, with a big in-your-face beat a la “Like a Rock” but with a faster tempo, cool background vocals punching up some key spots in the song – any Detroiter would appreciate that Motown backing vocals staple – and a very Seger-esque everyday working man’s viewpoint in the lyrics. At the time, this was Seger’s first release since the last Bob Seger & the Silver Bullet Band release more than a decade earlier, and this song, I’m sure, put a lot of his fans’ concerns to rest, acknowledging that this was still Seger doing exactly what we love about him, just with the little tweaks and musical growth that make new music worth hearing and, of course, that are the whole point of creating something new for the artist himself.

What about a Seger ballad? Well, that’s song two, “Wait For Me.” Talk about goosebump-inducing! Seger delivers that smooth voice and adds soaring guitar runs and well-placed harmony background vocals, as pianowork and guitar strumming form the song’s basis. Two songs in, and just whew! What a record! (I can’t believe I was totally out of the loop on new music in 2006 and missed this!) Of Face the Promise‘s singles, “Wait For Me” was the only one to chart, though not on the Billboard Hot 100. Rather, it reached number 17 on Billboard‘s Adult Contemporary chart.

The record doesn’t slow down for long. A funky blues bassline supports title track, “Face the Promise,” a concert-ready rocker that includes shout-outs to several states, regions, and cities. You just know one of those locations would be replaced in a live concert with someplace local – crowds love when artists do this, obviously. In any case, this is a third slightly different variation of Seger’s identifiable style in the first three songs, all absolutely top-shelf. As an aside, one of the cool things here for locals (I mean here in Massachusetts, where I live, not in Michigan where I grew up) will be the Massachusetts call-out, a mention of Framingham, pronounced correctly. Just something for my adopted home state’s locals to listen for. Regardless of whether or not you connect with one of the regional mentions, the hypnotic, sidewinding rhythm of “Face the Promise” is going to snag you and make this song a fast favorite.

photo by Cybelle Codish; photo courtesy of UMe

Next up, “No Matter Who You Are” kicks off with a familiar keyboard rhythm, at least similar to past Seger intros on his slower, heartfelt boomers. And the Motown-esque background vocals continue to add depth and flavor to this album, as well as an uplifting feeling underpinning even the most hardscrabble lyrics. But yeah, this is definitely one of those sway-along songs.

Grindy, thumping, deep bluesy-rocker “Are You” follows. Then funky-rockin’ “Simplicity” (you’ll dig the cool horn parts!), which reminds me a little – but not too much – of “Shakedown” from the Beverly Hills Cop soundtrack. And “No More,” a soaring number with a big, orchestral rocking sound, follows, with its big, expansive, wide-open sound.

“Real Mean Bottle” is a raucous, rollicking duet with Kid Rock, with Kid Rock’s thinner grizzled vox meshing exceptionally well with Seger’s richer, fuller delivery. It’s followed by a heavy, dirge-like, flowing ballad, “Won’t Stop.” Next up is “Between,” a rhythmic, slightly funky, drum- and bass-driven thumper about social isolation and disillusionment with a nod to the environmental crisis and the need for more societal cooperation.

“The Answer’s in the Question” is a country-tinged, flowing ballad, a duet with Patty Loveless that you’d think should have been a massive commercial hit, with a violin helping countrify Seger’s vocal parts, while Loveless, of course, contributes her own piercing, country vocal power. When singing together, the vocal combo is an exceptional blend of Seger’s gravel and Loveless’s purer delivery.

The final song of the original dozen are the soulfully crooned “The Long Goodbye.”

The “expanded edition” of the album concludes with those four additional tracks I mentioned. Four songs that are, except for those who had heard the iTunes-exclusive “Red Eye to Memphis,” are new to everyone. The first of this foursome, “Time,” is a blues-based rocker, with the rhythm section setting a heavy, thumping baseline upon which Seger’s vocal wails could sit, accompanied by some blistering, slightly distorted axework, including a long, dancing solo to conclude the song.

“Little Jane,” which dropped as a single on July 23 this year almost two months in advance of the Face the Promise (Expanded Edition) release, is absolutely single-worthy. (How was this a previously-unreleased track?! And what other unreleased gems are sitting in that vault?) Seger’s delivery on this number is matter-of-fact rather than booming, though he does ramp it up a little in a couple spots. But it’s the emotional quiver Seger can do so well that provides “Little Jane” with its subdued pizzazz. This is a song you could hear Seger singing perhaps alongside similarly-tempoed Springsteen or Mellencamp tunes. Would a songwriters’ circle of these three be too much to ask? Probably. But a selection of this song from Seger followed by similar tracks from the rest of that trio would be the beginning of a cool, laidback playlist.

“Red Eye to Memphis” is a gritty blues number – really, with a title like that? Who’d’ve guessed? Seriously, though, the beat just oozes cool, with Seger in top form at the blues end of his range, and some nifty guitar parts and harmony/backing vocals punching up a few vocal wails.

The extended collection closes with “Let Me Try.” A song about life’s difficulties, with a knowing empathy very few can pull off as well as Bob Seger. And just when you think the song has settled in, you get some big-time gospel background vocals lifting it up another notch for its final minute. A terrific way to end a great album.

Now, if you know this album already, I’m sure it’s a favorite, and I hope you’ve enjoyed my assessment of the original dozen songs and my take on the 4 new bonus tracks. And if you’re like me – life happens, sometimes you’re not discovering new music for a while, and you may have missed it – this album is an absolute treat for Bob Seger fans who are just discovering it. Join me; it’s so absolutely worth listening to… repeatedly!