Author Archives: detroitwriter1

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.

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.

Album Review: Randy Armstrong – Echoes of Tomorrow

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photo courtesy of Rock Rose Music

by Eric Harabadian, Contributing Blogger

Album Review of Randy Armstrong: Echoes of Tomorrow (UMP Records)

“Songs of Hope, Love, Peace and Unity”; that’s the subtext of the notes that grace this album by uber-accomplished guitarist/multi-instrumentalist Randy Armstrong. Echoes of Tomorrow is the latest release in a series of instrumental projects and albums the world music-oriented artist has shared with the universe.

image courtesy of Rock Rose Music

Armstrong is the co-founder of Do’a World Music Ensemble, Unu Mondo and the Beyond Borders Octet. His collection of instruments from around the world includes over 300 odds and ends from the United States, Canada, India, West and South Africa, Croatia, Belize, Cuba, Scotland, and Puerto Rico. He has performed at Carnegie Recital Hall and Lincoln Center in New York City and has been an international music ambassador for several arts commissions and the New England Foundation for the Arts.

photo courtesy of Rock Rose Music

As with many of his previous releases, Echoes of Tomorrow defies description in its vast display of musical terrain. Call it “contemporary jazz,” “world fusion,” “folk,” “Americana,” “new age,” or whatever you like, Armstrong does it all and seamlessly crosses all boundaries from one track to the next.  All of the dozen tracks here feature Armstrong overdubbing the majority of the instruments, with drummer Jose Duque on most of the cuts and tabla player Marty Quinn and bassist Volker Nahrmann only on track two, called “Courage.”

Songs like “Choosing Love,” “Compassion” and “Forgiveness” stir inner emotions and pull at your heartstrings while transporting you to a better place existentially and spiritually.  Tunes like “Finlandia—Song of Peace” and “Ode to Sibelius” have a classical arrangement and cadence to them. And the album closer “Born in Appalachia” harkens back to Armstrong’s childhood roots.

This is a really strong record that will touch all your senses in a profound and meditative manner. Hence, it features music that is tailor-made for these troubled times.

EP Review: Nate Jones – Greatest is Love

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photo courtesy of Nate Jones

by Eric Harabadian, Contributing Blogger

EP Review of Nate Jones: Greatest is Love

Nate Jones is a singer-songwriter/guitarist from Detroit, Michigan who has been steadily building a fervent and loyal following for over 15 years. The 30-something troubadour has dabbled in all areas of musical endeavor as a solo artist, a member of acoustic rock-based trio Athens Creek, and as a weekly host of several open mic nights.

The intrepid artist also has a select body of recorded work and original songs, with influences that run the gamut from James Taylor and Jim Croce to Johnny Cash and The Avett Brothers. With Greatest is Love, he is at the peak of his powers in terms of self-actualization and reflection. You’re getting the “best” version of Jones, where he’s putting his life and love on the line to show the audience what makes him tick. And, in doing so he, no doubt, is connecting to the listener in the most empathic and unfiltered way possible.

image courtesy of Nate Jones

This six song EP was recorded in Nashville, TN in early 2025. Jones had spent a few years there soaking up the creative atmosphere and ambience. And there are, indeed, a number of stylistic tropes that lean toward, perhaps, the country influences gleaned from such tenure. But he’s got his own signature thing going that defies mere categorization, other than to call it “Nate Jones music.”

Track one is called “Live it Loud,” and it immediately grabs you by way of a structure totally built on catchy hooks and an indelible melodic arrangement. This must surely be a crowd pleaser, with its upbeat message and collective spirit from his fellow collaborators. It starts with a refrain that’ll lock inside your consciousness: “Let me see your upside down frown, hands up in the air. Let me hear you sing it out loud, living without a care.” It’s infectious like that through the whole song. It’s a rouser, to be sure!

That’s followed by the seemingly autobiographical “Sober.” It’s a song with a serious tone about addiction and the joys of sobriety. This is Jones putting it all out there in a packaged token of appreciation for realizing the importance of having love in his life. Again, it’s got a great hook and a great message.

photo courtesy of Nate Jones

“(If Everyday Was) Friday Night” scratches that CMT/Active Country itch. This song is tailor-made for radio, with strong video potential as well. Imagine some of Chris Young and Luke Combs’ best work, and you get the gist of what Jones is going for here. Former Athens Creek partner Taylor Walls shows up brilliantly in duet and lead vocals on this track.

“Needed You to Know” is another emotionally charged piece that builds to a dynamic finale. This is, perhaps, one of Jones’ best love songs, as poetic as it is sincere. He sings, “Lonely is the man that waits for you. Who only hides the lies and tells the truth. Holding out his hand to hold onto. Lonely is the man that waits for you.” Torch songs rarely get much better and heartfelt than this.

“So Alive “is another rallying cry for feeling appreciation for the supportive people in one’s life. It’s all about embracing memories and shared moments. The song addresses the simplicities we all share but may not always acknowledge. But, as aforementioned, you’re getting the “best” of Nate Jones here, and he’s being as transparent as possible.

The title track talks about what he’s learned in life and golden rule kind of stuff. He sings about basic precepts he absorbed from his parents about music, relationships, forgiveness, etc. But, for all the wisdom he’s gained in dealing with various situations in life, the greatest manner in which to handle it always comes down to grace and love.

Joining the thought-provoking Jones on his musical journey are co-producer and guitarist Alex Bonyata, bassist Nathan Moll, keyboardist Tony Salomone, drummer Trey Poluga, guitarist and fellow Athens Creek member Oscar Sosa and backup vocalist Kara Frazier.

For more information on touring dates and events just go to natejonesmusic.com.

Single Review: Dustin Brown – “Ballerina”

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photo by Katie Langley; photo courtesy of RPR Media

by Eric Harabadian, Contributing Blogger

Single Review of Dustin Brown: “Ballerina”

Dustin Brown is a Texas-born singer-songwriter from the Fort Worth area. He’s a mix of country and Americana that is part of a neo-traditional movement in music. He’s been pegged with a poetic “blue collar” style and way of storytelling that’s one part Kris Kristofferson and one part Jason Isbell. He does so by blending bits of Southern rock, “red dirt,” folk, and blues to regale his tales of working-class life, personal growth, and small-town America.

image courtesy of RPR Media

Brown knows of where and what he speaks, having spent a number of years working various jobs such as commercial diver and oil field land man. Undoubtedly those experiences have provided a wealth of inspiration and spark for some of his best songs. He’s in touch with the people and, along with some of the best like-minded original songsmiths, wants his songs to naturally tap into shared emotions and connect with others.

The Texas troubadour has released three full-length albums, with a fourth in the works. The song “Ballerina” is unique in that, not only is it a stand-alone single, not available on any other album, but it is a collaboration between Brown and two other fellow singer-songwriters, Billy Hartman and Rachel Cole. Hartman and Cole are accomplished artists in their own right, with Hartman recording a number of singles and albums under his belt and Cole having toured with the late, great Todd Snider and signed with Snider’s Aimless Records.

photo by Katie Langley; photo courtesy of RPR Media

It’s a lot of collective creative firepower for a single that tells a delicately detailed, yet simple story. The Brown and Hartman-penned song focuses on a relationship and character study of a girl from three different perspectives. All three artists take a verse on the country-folk song supported by complementary mandolin, slide and acoustic  guitar. Brown’s seemingly naked and vulnerable voice leads the charge and paints a vividly intimate aural picture.

Album Review: Will Hawkins – Cartas No Enviadas

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photo courtesy of Will Hawkins

by Eric Harabadian, Contributing Blogger

Album Review of Will Hawkins: Cartas No Enviadas (Fastback Records)

Will Hawkins is a Los Angeles-based singer-songwriter who is best known as the frontman for the band Nine Mile Station. That band’s debut 2023 album BAZAR received many accolades from the music cognoscenti for its lyrical songs, vivid storytelling, and dynamic production.

With this new solo release Cartas No Enviadas (Unsent Letters), there is that same creative spark and territory mined in his previous, lauded band context. Actually, the album title suggests each song as a note or message, yet to be delivered to the subject or receiver in question. Hence, the album, in total, almost plays like variations on a theme or concept.

image courtesy of Will Hawkins

“What Your Words Say” opens the album loud and proud, with a declarative and plaintive urging to a significant other, stating it’s time to get out of each other’s way and lay it on the line. There’s an honesty and passion in Hawkins’ delivery that really seals the deal here in terms of pure emotional connection. “As Good As it Gets” follows and features great hooks and a memorable chorus. The song is a reflection on life and how one places themselves in the world. Dan Nachimson’s brilliant piano playing really illuminates the sentiments here.

“C’Mon Now” is sort of an open-hearted song. Hawkins’ dynamic and unvarnished words cry out for someone to be transparent. Musically, there is a smooth mid-section shift from odd rhythms to an uptempo break. The song really builds to a stunning crescendo that’s very effective. “Messy” is a cover of British pop star Lola Young, and Hawkins takes the angst and swagger of the original to another level. Session man, indie artist and producer extraordinaire Fernando Perdomo provides the surrounding ambience of the track via minimal keys, drums, and spacey guitar.

photo courtesy of Will Hawkins

“New Friends” is a cover of David Poe and brings out some of Hawkins’ east coast Springsteen-type roots. It’s upbeat, with a great hook. And Lainey White’s swirling violin even suggests a Dylan-meets-Mellencamp vibe. The Colin Hay nugget “Waiting For My Real Life to Begin” gets a thoughtful and pensive reading here. Phil Parlapiano is the pianist on this track, and his decorative and prominent accompaniment adds gorgeous luster to this treatise on living in the moment and appreciating what’s happening in the now.

“California” talks about the wanderlust and desires of a young man seeking the bright lights and fame of Hollywood. Gerald Menke’s pedal steel guitar gives the song an early Jackson Browne and the Eagles kind of feel. “Anything” is a tune from Hawkins’ formative years in NYC. Recorded live at The Baggot Inn, it’s a nice original ballad that drifts into jamming in sections. It’s a nice stretch out for the band. The album concludes with a dedication to Hawkins’ father entitled “May the Road Rise to Meet You.” It’s a traditional Scottish proverb that is lovingly detailed, including the artist’s own bagpipe playing in the fade-out.

Will Hawkins is a talented and multi-faceted musician and producer who presents a contemporary Americana and West Coast sound that is timeless. His songwriting is reflective of CSN&Y and all the greats to arise from the classic Laurel Canyon period of the ’60s and early ’70s. But he is also on the cutting edge with modern troubadours like Dawes, Jason Isbell and others. Hawkins is an artist to keep on your radar.

Album Review: The Far Out – Greetings from The Far Out

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photo by Jackie Vlahos; photo courtesy of Knyvet

by Eric Harabadian, Contributing Blogger

Album Review of The Far Out: Greetings from The Far Out

Boston’s award-winning funk/pop trailblazers The Far Out essentially developed their act during the downturn years of the global pandemic. But this vibrant and vivacious sextet has been friends for several years before that. Ellie Dolan (trumpet, vocals), Ryan Fremont-Smith (bass, vocals, saxophone), Olivia Lowe (guitar, flute, vocals), Drew Phillips (drums), Colin Senechal (saxophone, guitar) and Henry Zagarella (keyboards, vocals) comprise the crew that oozes with clever arrangements and unbridled talent.

artwork by Olivia and Ezra Lowe; image courtesy of Knyvet

On the path of some well-received singles, this eclectic and danceable outfit caught the attention of the New England Music Awards. In 2024 The Far Out were honored as the “New Act of the Year” and, assuredly, a band with a bright future and a lot of promise.

“Infectious” is a word that, perhaps, gets overused a lot when one talks about musical acts and performers that exude a ton of energy and attitude. But that is exactly what you get when you take on this album in its entirety. From track to track, The Far Out creates an aural experience that works on a number of levels: emotionally, physically, spiritually and, even, intellectually. Their songs will get you on the dance floor, but you’ll also be engaged by the clever wordplay and snappy arrangements.

photo by Jackie Vlahos; photo courtesy of Knyvet

Eight songs in total; they explode in a colorful array of personality and charm. “Need a Win” opens the album and answers that call, with a bouncy and uplifting beat. Fremont-Smith’s intrepid bass lines grab you from the get-go. “Funkadelic Gas” is not only a great title but locks in a killer groove framed by some of the tastiest horn charts this side of Average White Band. “Lazy Lover” is a bit of a departure that features a punchy feel and some great gnarly crunch on the guitar. “Laurel” follows and is one of the catchy singles that first caught this reviewer’s attention prior to the release of this album. The lead vocals are bright and clear, with smart nuanced breaks and classic-sounding horn accents. “Putt Strut” is a somewhat humorous tune, with some overt golf references and cheeky lyrics a la British prog rockers Caravan. “Long Weekend” is a great sentiment that offers more of a laid back pace. But that sets the stage for the Motown-like “Packed To Go.” This one is straight up R&B, with a grooving breakdown from Phillips. For the finale, they display their jazzy side on the provocatively titled “See Red (You’re Dead).”

photo by Jackie Vlahos; photo courtesy of Knyvet

Perhaps keyboardist and vocalist Zagarella typifies The Far Out’s goals and state of mind: “I hope that you can hear our camaraderie through the music. These songs are built on the foundation of strong friendships. And while that’s easy to see when we play live, I would love for people to hear it at home too!”

RIYL: Parliament Funkadelic, Average White Band, Earth Wind & Fire, Swing Out Sister, Squeeze, and Brand New Heavies.

Looking Ahead

Per the “Shows” page on The Far Out’s website, you can catch them in Massachusetts, Vermont, Rhode Island, New Jersey, and Connecticut between now and mid-September. Be sure to check the band’s website to see when and where they’ll be performing near you.

Album Review: Bees Deluxe – Smash Hits

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image courtesy of Bees Deluxe

by Eric Harabadian, Contributing Blogger

Album Review of Bees Deluxe: Smash Hits

The term “acid blues” gets bandied about in the description of this fine Boston-based east coast act. However, I don’t know if that tells the whole story. While they do possess a quirky psychedelic playfulness in their approach to lyrics and some sonic experimentation, they can be pretty no-nonsense, straight-ahead players as well.

This somewhat faceless British-American amalgam lays down some classic slow and pensive blues on the opening Fenton Robinson standard “Somebody Loan Me a Dime.” This tune spotlights smoking guitar and a plaintive, heartfelt vocal that will tug at your soul. And they keep that vibe going a little longer on the lyrically cryptic “When is Yesterday.” Cool electric piano and screaming guitar is only trumped by a smooth harmonica fadeout. “King of Bad Luck” is a recommended radio track for its authentic blues demeanor and subtle use of space. Everyone enjoys a novelty song from time to time, and these guys are not ones to shy away from a little humor. Beer drinkers of the world unite and enjoy the lyrical sentiments of “Beer.” You’ve gotta love a line like “I want you, but I need a beer!” It’s a weird juxtaposition of lighthearted revelry and Robben Ford-like guitar prowess.

photo courtesy of Bees Deluxe

They slip some instrumentals in here, too, like “Blues for the Decline of Western Civilization.” There’s this jazzy Wes Montgomery-flavored octave thing happening that blends with a mid-section acoustic guitar lead. It’s a really tasteful and well-orchestrated musical departure from your standard blues fare. “Nitro” follows and is a cute little song, with the line, “You filled me up with nitroglycerin… You lit my fuse and blew me up!” It’s an odd and quirky premise supported by a reggae-like rhythm and lively horns in the chorus.

Another curiously titled piece is the piano-driven instrumental “How to Play 96 Tears.” It really has nothing remotely related to the Question Mark and the Mysterians classic, but it’s an intriguing roadside attraction to further throw convention out the window. “Bad Influence” boasts the line “you got ways to make me do what you want.” The Mark Knopfler/Dire Straits like finger-picking of the guitar fuels the coercive sentiment of this curious jam, requiring further scrutiny. A blues song that was popularized in the rock world back in the day was one done by the J. Geils Band called “Homework.” This Otis Rush classic is unearthed here, with open, inviting grooves and tight drum fills. It just feels really good, and the teen love angst expressed in the song comes off very well.

“Kidnap” is another weird and wonderful track that sounds like an outtake from Steely Dan’s Gaucho album. Its laid back syncopation and cool rubato drum fills are a startling surprise. “Crank Part Two” is some cool, somewhat experimental, funk, as “I Wouldn’t Treat a Dog” and “Gee Whiz” wind things down with equally pseudo-funky backbeats and loose open jams.

Bees Deluxe have been wowing crowds, as they say, from “Maine to Miami.” And critics have noted their Zappa-like wit, Steve Ray Vaughn-flavored passion and penchant for jazzy textures and engaging interplay. You can’t really put your finger on what they actually are, other than an unorthodox blues band that likes to have fun and slyly break the rules.

Album Review: Mama Said – Change in the Weather

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photo courtesy of Mama Said

by Eric Harabadian, Contributing Blogger

Album Review of Mama Said: Change in the Weather

Mama Said is a female fronted rock outfit from the San Francisco Bay/Napa Valley, California area. The core members are Jennifer Knight and Latifa Reeves on vocals and Derek Bromley on lead guitar. The studio musicians who assisted the band on the album were Steve Fekete (America), Marc Slutsky (Adam Ant), and Jim McGorman. For their burgeoning live schedule, their touring players include Darren Schauer (drums), Ben Guerard (rhythm guitar), and Nik Blankenship (bass).

image courtesy of Mama Said

They formed in 2019 and barely had their musical wheels in motion when 2020 and the pandemic shutdown brought everything to a screeching halt. However, you can’t keep a good band down, and that’s when they decided to dig their heels in and really hone in on their songwriting, playing, and production skills.

Change in the Weather brings a lot of influences and sonic textures to the table, with a late ‘70s/early ‘80s approach that is informed by ‘90s sensibilities, as well. Co-written and produced by multi-faceted singer-songwriter/collaborator Jim McGorman (The Goo Goo Dolls, Paul Stanley, Cher, David Lee Roth, Weezer, Avril Lavigne, etc.), Mama Said’s debut album is a collection of original songs packed with positive energy, uplifting lyrics, and a unified melodic focus.

photo courtesy of Mama Said

Every tune here connects as a single. They all work together as an album, but each song has a slightly different flavor and will appeal to various sensibilities of the audience in different ways. For instance, opening tracks like the title track and “The Needle” grab you from the outset, with crunchy guitars and heavily syncopated rhythms. “Diamonds & Cigarettes” really highlights the front-line harmonies and recalls the craftsmanship and oeuvre of The Motels or Pat Benatar. “My Kind of Crazy” features great pop hooks and a catchy feel.

There is also a tasteful use of dynamics and ambience in the execution of the guitar textures. “Gimme” is another sound once again, with a subtle funk-like feel underpinning the groove. “Itch” brings back a little more rock ‘n roll, as does the big pocket vibe of “Feel Good Revolution.”

photo by Mitchell Glotzer; photo courtesy of Mama Said

“Everybody” closes out the album with a rousing chorus of “Hang on until we get there!” It appears to be a song about inclusion and bringing folks together in some form of harmony. There is a cool breakdown here with percussion and vocals that further ignites the passion behind the song’s positive and inspirational intent.

Mama Said is a really strong act and has an impressive roster of live credits, including opening for – and performing at events featuring – The War & Treaty, Mike Campbell (Tom Petty, Fleetwood Mac), Lizzo, Duran Duran, Red Hot Chili Peppers, and Sheryl Crow. The band braintrust of Bromley, Reeves and Knight are a thrilling combo that is proudly carrying the torch of “real” rock ‘n roll into the modern age. While they draw from sonics of the past, they come by it honestly and embrace these songs with a vengeance and respect that can’t be denied.

EP Review: Derek Smith & The Cosmic Vultures – Temporary Circus: Act I

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photo by Gia Smith; photo courtesy of Knyvet

by Eric Harabadian, Contributing Blogger

EP Review of Derek Smith and The Cosmic Vultures: Temporary Circus: Act 1

Derek Smith is a prolific and award-winning singer-songwriter and guitarist from Boston that has recorded a startling number of album releases and singles as a solo artist as well as a member of The Cosmic Vultures. He is joined on this current EP release by Justin Lopes (piano/organ), Michael Strakus (guitars), Steve Constantino (bass), Dalton DeLima (drums) and Jonathan Chesko (orchestration/production).

This EP is a follow-up to the highly successful album Opus. This latest project is meant to be the first in a series, with proposed subsequent acts dealing with modern society, its challenges, and hopes for the future. In Smith’s estimation, life is a “temporary circus” and, despite all its hardships, this too will pass.

cover design by Derek Smith; image courtesy of Knyvet

The five songs contained here have a central acoustic-based focus that draws on a number of key influences – everything from jazz-pop and folk to world beat and psych elements. “Temporary Circus” has a distinctive, relaxed approach built on a bed of Latin rhythms. The acoustic flamenco-type leads lend themselves to classic pop like latter day Tommy James, The Rascals, and even Tommy Bolin’s solo work. “Strange Life” creates this aural imagery that is spacey and envelops the listener. The combination of acoustic guitar, percussion, and orchestral textures hints at a Moody Blues-like aesthetic. There is a slight shift in genre with the country feel of “The Puppets of Hypocrisy.” But it keeps up with the conceptual theme of the overall project. There are very clear notes of folk and pop here, as well. “Some Girls” speaks to the power of women in our society, which is driven home via exquisite harmonies and choral vocals. It’s also kind of new age-sounding, further exemplified by Lopes’ jazzy George Winston-like piano. “Indie Darling” could be almost auto-biographical and sounds like an amalgam of New Radicals, Todd Rundgren, America, Duncan Sheik, and even early Daryl Hall & John Oates.

For music fans who like their rock and pop with a tad more sophistication and depth, Derek Smith and The Cosmic Vultures are sure to satisfy and resonate with you for some time to come.