Single Review: Liam Foody – “Waiting For You”

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Liam Foody

photo courtesy of Cobra Promotions

Single Review of Liam Foody: “Waiting For You”

Irish singer-songwriter Liam Foody serves up an energetic mid-tempo pop-rock single with “Waiting For You.” The song is easy to listen to, with jangly guitar – and even a little grainy guitar crunch in spots – supporting Liam’s steady voice atop a frequently-airy soundbed. Liam’s voice has just a hint of a warble that helps the song come across as heartfelt, despite its rather poppy, keep-it-moving vibe that pushes the song forward without lingering too long on an emotion.

In the end, “Waiting For You” is a pleasant song that’s sneaky-good and will grow on you progressively with each subsequent listen. It’s a light, feel-good pop-rocker that serves as a terrific introduction to this talented artist. So check out “Waiting For You” and get ready for more – I’d expect to hear plenty from Liam Foody in the coming years.

By the way, this is actually Liam’s second single. If you like what you hear, be sure to also take his first single, “Take Your Hand,” for a spin.

Single Review: Annie & the Caldwells – “Wrong”

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Annie & the Caldwells

photo by Eric Welles-Nystrom; photo courtesy of 23 PR

Single Review of Annie & the Caldwells: “Wrong” (Luaka Bop)

The funky opening of “Wrong” will grab you right off the bat, as “Wrong,” a single from the Annie & the Caldwells album Can’t Lose My (Soul), evolves into the kind of powerfully-vocalled (with backup singers) kind-of-Motowny soul song that’ll keep you moving in your seat with its engaging beat. And you’ll be singing along with the lyric “I was wrong” by the end of the very first listen.

The group’s bio notes that Annie & the Caldwells are a family group from West Point, Mississippi and labels their sound as “disco soul.” Yes, though I couldn’t quite place it in the review above, penned before digging into the band’s bio, there’s definitely a disco flavor to the song, too.

The song includes a nice video, filmed right there in West Point, that begins in Caldwell’s Fashions, the business owned and operated by family matriarch and bandleader Annie Caldwell. The family band is comprised of vocalist Annie, her husband Willie Caldwell Sr. (guitar), her sons Willie Caldwell Jr. (bass) and Abel Aquirius Caldwell (drums), daughters Deborah Caldwell Moore (featured vocals), and Anjessica Caldwell (backing vocals), and goddaughter Toni Rivers (backing vocals).

In any case, this is a fun single. I haven’t given the full-length album a listen yet – it’s been out a few weeks now – I fully expect to be wowed.

You can also find Annie, Willie Sr., and their sons in the Staples Jr. Singers, who’ve been around since 1975, according to the Staples Jr. Singers’ Instagram page.

Album Review: Neale Eckstein – Never Too Late

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Neale Eckstein sitting in a studio, holding an acoustic guitar

photo courtesy of Broken Jukebox Media

Album Review of Neale Eckstein: Never Too Late

Neale Eckstein has been a part of the metro Boston music scene for as long as I remember. His Fox Run Studio has recorded numerous projects. His Fox Run Concert Series has hosted top artists from all over since the late ’90s. I’ve seen Neale share photos from his Kerrville Folk Festival visits for years. It never dawned on me that he hadn’t ever released a full-length album as a singer-songwriter. Until October 2024, that is, when Never Too Late came out. Digging deeper into Neale’s bio, he’s a retired pediatric dentist (I already knew that), who didn’t take up songwriting until he was nearly 60 (that’s something I didn’t know). Although he released an album with “Neale Eckstein & Friends,” he only performed lead vocal on one song, so that doesn’t count. In 2019, he released a short EP. But finally, at age 75, Neale released his first full-length record. I have one problem with that – there’s no way Neale’s 75! As they always say, I guess – music keeps you young!

Neale’s songwriting is impeccable. And his voice is earnest, honest, and a bit gravelly, well-suited for the observational (or participatory) storytelling music at which he excels. If I were to paint a picture for you, Neale’s vocals are the sort you’d expect from a grizzled old cowboy, singing expansive western-folk music while sitting around a campfire somewhere in the dusty southwest.

Never Too Late contains many memorable lyrical moments, a nod to Neale’s songwriting prowess and to his honest, heartfelt delivery. Vocally, again, Neale’s voice is hoarse, gravelly, forthright, and emotive, helping him attain that folk music storyteller role on pretty much every song.

The first three songs on the album run the gamut of song topics. “Masterpiece” kicks things off reminiscently about parents cherishing the memories and times spent with their young children. “One Month Crazier” is a fun song about being on the road; I mean, it’s sung kind of sadly, but it’s packed with clever wordplay. And “Red Swivel Stool” is a song about growing up in segregated Durham, North Carolina, through the eyes of a child who notes, “Some sat in the front. Some sat in the back. And some couldn’t sit anywhere at all. Some went to the front door. Some went to the back. Didn’t make much sense when I was small. Didn’t make much sense at all.” Of course, since the song is sung as if looking back as an adult, the final line of the song revises the ending to that chorus to “Still don’t make no sense at all.”

Neale Eckstein – Never Too Late album cover

photo courtesy of Broken Jukebox Media

A couple songs later is “Devil’s Gate,” a very western-sounding song about the Pony Express, with a rhythm sounding very much like hoofbeats.

“Like a Poem Needs a Rhyme” is a sweet, heartfelt song, sung as a duet with acclaimed, Austin-based folk-Americana singer-songwriter BettySoo. The song is soft, slow, simple, and straightforwardly from the heart. The album notes say it was inspired by Kris Kristofferson, and you can really hear the influence in this track.

“Big Shining Circle” is a steady, soft ode to moon photography with some nifty, occasional guitar twang keeping things interesting. That’s notable for a couple reasons. First, it’s the only song I’ve heard that focuses on this particular subject, so it’s likely to become the all-time favorite song to a small but very devoted following. Also, well, check out the album cover. Neale loves taking pictures of the moon, and his passion shows in both this song and the record’s cover art.

“Stormchaser” is slow and haunting, a storm-themed song about relationships, that includes the particularly cool lyrical turn-of-phrase: “But I know that I will never leave when I am warned. Been running into the wind since the day I was born… a stormchaser.” The music, too, accompanies the feeling of eerie calm right before the storm arrives, a little unsettled and echoey at times.

“Fall From Grace” and “Gonna Get It Right,” back to back, are songs Neale notes are inspired by friends’ breakups, and they carry the appropriate gravitas but with slightly different melodies and vocal/musical approaches, so this is the part of the record to turn to if you want to hear a couple tightly-written and well-performed songs about this particular topic.

The album closes with “Messy Bed,” a slow, powerful song – sung, of course, with a soft, gravelly, truthful-sounding voice – based on the message of the fact that it’s never too late. For Neale’s first full-length release after a lifetime of experiences, it’s such a fitting way to end this record, as the chorus sings: “So don’t be afraid of the messy bed you made. No, don’t be afraid ‘cause it just gets in the way. And sometimes the world makes you wait, but the truth is, it’s never too late.” Words to live your life by in the form of, perhaps, an encouraging song to help you do just that.

In all, this 14-song collection is soft, well-written, and excellently-performed. Folk music fans, in particular, are likely to really enjoy this record, though all of us are likely to latch onto at least a song or two that really touches us, so it’s probably worth at least one listen to everyone; many, many more to core fans of this genre because it’s a great disc.

What’s next? Well, I believe there’s a “Fox Run Five” recording in the works – the “Fox Run five” being Neale’s core set of collaborators – so watch soon for a Fox Run Five double-vinyl release, as Neale discusses in this Facebook video.

Single Review: Paul Sherry – “Fades”

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Paul Sherry

photo courtesy of Cobra Promotions

Single Review of Paul Sherry: “Fades”

Award-winning Irish blues and rock musician Paul Sherry released a cool single, “Fades,” late last year. The song was produced at Start Together Studio in Belfast by Rocky O’Reilly. Multi-instrumentalist Sherry performed guitar, bass, and piano on the record, while Davy Cassidy contributed the drumwork.

“Fades” opens with jangly, rough-hewn guitarwork before being joined by Sherry’s gritty, raw, passionate vocals, which lend an edgy insistence to the chorus: “I see everything just fades, letting go now. I see everything fades. Where’s it go now? Everything changes.” The second verse maintains a bit more energy, allowing the song to amp up even more in the second chorus. In need of a release, the song adeptly passes through a less-instrumented, airier bridge before picking up the energy on the other side, rockin’ it out to the close until a final-second fade. Just a really cool arrangement, well-suited to Sherry’s delivery.

Taking a holistic view of “Fades,” the song has a real-life, gritty, honest vibe along the lines of a Bruce Springsteen or John Mellencamp song. Stylistically similar but not sonically. No the sound is unique to Paul Sherry. So if you’re not familiar with his work, this song seems like a great introduction. And if you do know Paul already, well, if you haven’t hear “Fades” yet, you’re gonna dig rocking along to it!

Paul Sherry

photo courtesy of Cobra Promotions

Looking Ahead

If you want to catch Paul Sherry live, there are several upcoming shows listed on his webpage. He also announces upcoming gigs on his Instagram and Facebook pages.

 

Album Review: High Lowdowns – Honey Moonshine

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High Lowdowns

photo by by Kathy Parella; photo courtesy of the High Lowdowns

Album Review of High Lowdowns: Honey Moonshine

New England’s High Lowdowns hail from Worcester, MA and Rhode Island. The bulk of the band’s sound is an energetic, kinda twangy Americana, though the band covers a breadth of musical real estate, coming off as nearly an alt-rock band on at least one track.

The High Lowdowns are Gregg Levins (vocals, guitar, Farfisa organ, harmonica), Joe D’Angelo (lead guitar, bass) Scott Kenyon (drums, percussion) and Julia Benoit (vocals). Honey Moonshine is the band’s second full-length release, following its self-titled 2023 debut.

Honey Moonshine begins with perhaps the three most quickly catchy songs on the album. (It’s always smart to start a record with the songs that connect with listeners the quickest!)

High Lowdowns – Honey Moonshine album cover

image courtesy of the High Lowdowns

Album-opener “So Much More to Life” reminds me, right off the bat, of a long-form version of a Hee Haw song. I mean that in a good way, of course. It’s instantly catchy with a sort of down-home wisdom message and delivery: “So leave all your troubles and leave all your strife. Believe me when I tell you there’s so much more to life.” It’s one of those songs that you initially think must be a cover because it feels so comfortable and familiar from the first note. But it’s not. It’s simply a good, catchy song.

“All Twisted” follows, another lively song feels like something the B-52’s might record… if they were an Americana band. Be aware, you will soon find yourself singing along with the chorus. But there’s nothing NSFW there, so don’t worry.

Next up, in the three-hole, is the album’s title track. “Honey Moonshine” slows things down a bit, with an almost haunted vibe, as you might expect from a Love Love song, but without the dark subject matter. I mean, it’s not a happy song by any means; quite the contrary, the music fits the mood. But it’s just a normal-type of sad.

Saying that the first three songs are the quick-grabbers is, by no means, meant to show disrespect to the rest of the disc. The whole 10-track record is a fantastic repeat listen. It’s just that the first two singles, if you’re thinking like a record company exec, should probably come from the album’s first three tracks.

High Lowdowns

photo by Steph Benoit; photo courtesy of the High Lowdowns

The very next song, in fact – “The Devil You Embrace” – turns a really nifty phrase in its chorus: “We all got demons now to twist and turn our fate. They’ll walk you down pathways where temptation lies in wait. It ain’t easy but you’ll find, at the end of the day, it’s only you that gets to choose the devil you embrace.” I’m not sure if I’d describe that more as “cool” or “badass,” so I’ll meet somewhere in the middle. That chorus’ lyrics are “coolass”!

“Wilted” is another of my favorites, a moderately-paced danceabilly-ish number. And it’s followed by “Turn This Thing Around,” which is the song I mentioned being a little reminiscent of alt-rock – with an Americana influence, clearly, but it’s a distinctly different sound – albeit it enjoyably so – from most of the rest of the collection.

Those of you who favor “All Twisted” are likely to consider “Can’t Shake You Out” your second favorite track. It’s not a soundalike by any means, but it bops along with a similarly energetic tempo and delivery style. Meanwhile, I could say the same thing about “Soul Tied” relative to “Honey Moonshine.”

The record closes with “Sun Sets West,” a mid-tempo song that maintains a steady, moderately energetic tempo. Indeed, the core sound and delivery of the main portions of the song are relatively mainstream, rich Americana, but notably, the opening – and a late-song solo – have a slightly airy-instrumented structure that hints at a western style. It’s a fun closing number for Honey Moonshine, an enjoyable collection of songs that fit well together yet offer enough variety to provide an interesting full-album listen.

It’s also worth noting that the High Lowdowns’ style seems as if it would translate very well to a live performance, so it’s worth seeking out the band’s upcoming concert calendar. Perhaps, follow the band’s Facebook page for future gig announcements.

 

Single Reviews: Battlemode – “Playlist” and “Just Pretend”

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photo by Dave Green Photography; photo courtesy of Knyvet

Single Reviews of Battlemode: “Playlist” and “Just Pretend”

Battlemode is a trio of Boston-based purveyors of super-catchy, hypnotically beat-driven chiptune pop. To any of us not embedded in the heart of that particular electronic music scene, stylistically, think synthpop. Mostly, though, think of an electronic-based, danceclub-ready, infectious, thumping earworm. Or, in this case, two tuneful aural parasites – “Playlist” and “Just Pretend.”

Battlemode – "Playlist" cover art

artwork by Sadie Parrotta; image courtesy of Knyvet

You my have seen Battlemode – Biff, Astro, and Sam – featured at Boston Bitdown in March. The group is scheduled to appear at Boston Calling in May. Simply put, Battlemode is everywhere this year, and deservedly so.

“Playlist” kicks things off right from the start with an electronic dance beat that’s an immediate attention-grabber, moving on to heartfelt, powerful pop vocals, appropriate for the song’s way-cool lyrics, featuring the oft-repeated “It’s over. All I have left is your playlist, your playlist.” The mid-song rap, as the electro-beat continues, provides a tempo-change, before the full wall-of-sound and the primary vocals return. You will be singing this song all afternoon after just about any mid-day listen, that’s for sure! In fact, if you can’t groove along to “Playlist,” you’re probably dead inside.

Battlemode – "Just Pretend" cover art

image courtesy of Knyvet

“Just Pretend” has a more mainstream pop music feel, the sort of thing you might hear from a Nick Jonas tune, particularly in collaboration with other artists, like Battlemode, perhaps, sometime down the road. It’s not really super-different stylistically from “Playlist” – clearly two songs from the same artist – but there’s a unique vocal breakdown early on and a slightly more complicated baseline rhythm. The mid-song rap comes a little earlier in the song. There are also some nifty sound effects. I know the band’s bio says Astro’s instrument is the Game Boy. That’s sure what it sounds like. Or, more precisely, it sounds an awful like the sound effects from the old arcade game Caterpillar. Regardless, it totally fits in with the song, making an already-engaging tune even a little more interesting.

It’s easy to get hung up trying to describe Battlemode’s sound, but that’s hardly the point. Battlemode’s songs are sure to appeal to anyone who likes music, especially if you enjoy pop, electronic, or any related style, but not necessarily just that group of music fans. The songs are well-written, engaging, and hooky, suggesting the potential for massive crossover appeal, too.

photo by Dave Green Photography; photo courtesy of Knyvet

Looking Ahead

Battlemode has a couple upcoming concerts listed on the “Shows” page of the band’s website. On May 7th, you can catch them in Boston as part of the “Sound On” concert series. And on May 21st, Battlemode will take the stage at Boston Calling in Allston, MA. Of course, keeping checking the band’s website for future live performance dates.

Album Review: Itamar Erez & Hamin Honari – Migrant Voices

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Itamar Erez & Hamin Honari – Migrant Voices album cover

image courtesy of Dog Ranch Music PR

Album Review of Itamar Erez & Hamin Honari: Migrant Voices

As you know if you’re a regular reader, I like a good instrumental album from time to time. Well, Israeli guitarist Itamar Erez and Iranian percussionist Hamin Honari deliver a great one with Migrant Voices. Erez and Honari met through the Vancouver music scene and have performed together in and around British Columbia. They applied for a Canada Council grant to record this album.

Itamar Erez

Itamar Erez; photo by Diane Smithers; photo courtesy of Dog Ranch Music PR

On Migrant Voices, Erez and Honari combine Erez’s softly meandering, often rhythmic strumming and picking with Honari’s broad array of percussion sounds and beats to create a nifty jazz collection that would be equally at home in a theater setting or at a venue with more of a coffeeshop vibe. In a personal setting, the Migrant Voices album is equally suitable as music for relaxing after a stressful day, music in the background to help feed a bit of relaxation into a stressful day, or in a number of other situations.

Hamin Honori

Hamin Honori; photo courtesy of Dog Ranch Music PR

The title track, “Migrant Voices,” was the only song that was pre-written before the album was recorded. The rest of the songs were “freely improvised without a plan” while in the recording studio, though the artists note that “Forgotten Sands,” while it began as an improvisation, was honed by recording several versions and includes some overdubs. Of course, as the end result is such an enjoyable listen, it seems like a solid artistic choice, just as years of practice and years of performing together by Erez and Honari served as the basis of their improvisation in the first place.

From the steady progressions of “Migrant Voices” to thoughtful use of open space during transitions in “Embrace” and the artistic intertwining of the instruments through out the album, Migrant Voices remains relatively hushed in tone, which is why it’s a great companion for such a variety of experiences, from thoughtful, in-depth listening to accompanying other activities. Throughout, this record is an intriguing listen and an excellent addition to any music collection.

Album Review: Erin Ash Sullivan – Signposts and Marks

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Erin Ash Sullivan

photo courtesy of Erin Ash Sullivan

Album Review of Erin Ash Sullivan: Signposts and Marks

Erin Ash Sullivan serves up an excellent folk music album with Signposts and Marks. The music bed is full and rich, moreso than many folk records, providing a collection of songwriter-driven storytelling songs that can appeal to a broader audience than the more simply-produced acoustic singer-songwriter fare with which she shares a genre.

Erin Ash Sullivan – Signposts and Marks album cover

image courtesy of Erin Ash Sullivan

Erin’s voice is strong, emotive, and varied – she’s a heckuva singer even without the “hyphen-songwriter” attached. But she’s also quite a lyricist, utilizing relatably descriptive phrasing to paint pictures that make an unusually broad range of topics come to life on this record.

Erin opens with “Goat on a Stone Wall,” a song whose twangy-picking opening slides into one of the more typically rich-folk sounding songs on the record. But it also suggests this record is something a little different than you might have initially expected, carrying quite a bit of tempo throughout, showcasing an impressive vocal range, volume variance, and nimble phrasing.

“Rest Stop Bird,” next, features a semi-haunting chord pattern that reminds me a little of a Shawna Caspi song, especially early on, as it uses the imagery of a bird at a rest stop to convey some deeper thoughts, pleasantly, and catchily.

Erin Ash Sullivan holding a guitar on the steps of building

photo courtesy of Erin Ash Sullivan

“Baltimore” is worth noting, as it’s an exceptionally soulful number, but especially because it’s one of those songs you’ll be sure you’ve heard before. This has gotta be a cover, right? Nope. Instant classic. Some of my favorite lyrics on the entire record, in fact, come in this song: “‘Cause it’s the loved ones that take it the hardest when the actors stop reading their lines. When there’s a twist in the plot, whether they like it or not, all along they’ve been seeing the signs.” There’s so much packed in there, particularly within the context of the song, but no, I’m not going to share more of this song’s lyrics in this review. You’ll have to see and hear for yourself.

“One Time I Stole a Book” is softly and, not surprisingly, confessional, sporting guitarwork that sounds a bit like rain softly hitting the window. It’s a song about Erin’s grandparents, wistfully touching upon life’s little moments, perhaps turning points, with the lyric “give us grace to know the signposts and the marks,” from which the album title is drawn. And yes, Erin explains why she stole the book.

Erin Ash Sullivan

photo courtesy of Erin Ash Sullivan

“Winter Walk” is musically off-kilter, suitably accompanying the more disturbing song content. Give a listen, and then again, and keep thinking to yourself, “the lyrics say what?” For one thing, “two sets of prints out and one set home.” But I must say no more. The songwriter might already suspect I know too much.

“Eat the Pie” is another favorite. It’s a playful, cheerful song about reaching for the brass ring, just going for it, all based on the songwriter’s “tiny voice inside [her] head calling out to [her], ‘Eat the pie! Eat the pie!'” You’ll be cheering for the “nerdy bookish weirdo who was cut from every team,” and your anticipation will be rewarded. Not just by the lyrics’ payoff; you’ll also be treated to not-quite-four-minutes of fun, creatively-worded, whimsical listening enjoyment, almost certainly ending with a smile on your face.

Erin Ash Sullivan performing at Falcon Ridge

photo courtesy of Erin Ash Sullivan

“Don’t Want to Keep Score” is sweet, serene crooner’s waltz that belies its topic of the toxicity of arguments, if you stop swaying to the music long enough to notice the lyrics.

The final three songs are parent to child themed. “We Walk the Flats” is sweet song about the passage of time, though, of course, more about walking on the beach. “How It Should Be,” next, is also heartfelt and wistful. And the record closes with “Before You Go,” a slice-of-lifer about savoring moments.

The twelve tracks of Signposts and Marks are richly textured, lyrically clever songs, delivered by Erin via impressively rich musical arrangements and an exceptional vocal range. If you like singers or songs – and why are you reading a music blog if you don’t? – then you should give this record a listen.

Single Reviews: Wildfeuer – “Bones” and “85 to 0”

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Wildfeuer band photo, with the band standing in front of a graffiti-covered brick wall

photo courtesy of Sarah Wildfeuer

Single Reviews of Wildfeuer: “Bones” and “85 to 0”

Boston’s alt-rock scene has a new A-list band, if Wildfeuer‘s first two singles are any indication. Full of energy, power, and rhythmic persistence, “Bones” and “85 to 0” hint at a high ceiling for this Sarah Wildfeuer-led outfit.

Wildfeuer – "Bones" cover art

image courtesy of Sarah Wildfeuer

On its first single, Wildfeuer kicks things off with an engaging, hypnotically rhythmic alt-rocker, “Bones,” that, as you start to listen to the lyrics, is topically perhaps cathartic, one hopes, as it disquietingly descriptively details the challenges of moving forward with life and love following a sexual assault. The vocals are suitably edgy, tunefully dashing around the contours of the melody. From the very first lyrics, the song is intense: “He digs his fingers into me. His dirty nails they make me bleed. Nothing ever sets me free from the memory.” The subject matter is, unfortunately, familiar to far too money people, so anything that helps engage public thought and discussion (and, of course, condemnation) on the matter is welcome, even moreso if it helps those who’ve experienced it find common cause. In this case, the message is in the package of a kickass song.

Wildfeuer – "85 to 0" cover art

image courtesy of Sarah Wildfeuer

Second single “85 to 0” is slower paced and, with the beats highlighted moreso by the more intentionally plodding progression, sports perhaps a little heavier feel. This song is disquieting in a slightly different way, with a chorus that begins “With my headlights wrapped so nice round a streetlight. I think it would feel so nice to hit zero from eighty-five.” The wall of sound is greater during the chorus, and the vocal intensity picks up to match.

Together, this pair of intense, well-written songs suggest both a live performance that could enthrall a roomful of rockers (well beyond the core alt-rock crowd) and the likelihood of a future catalog of equally impressive songs in the band’s future. Perfect not just for an alt-rock college crowd but also for more veteran rock music fans, too. I’m already looking forward to whatever Wildfeuer releases next.

Wildfeuer band photo, with the band standing on a stage that's covered with graffiti

photo courtesy of Sarah Wildfeuer

Looking Ahead

You can find Wildfeuer online at the band’s website or its TikTok, Facebook, Instagram, or YouTube pages. I don’t see any upcoming gigs listed, but I’ll definitely be watching for them.

EP Review: Kristian Montgomery and the Winterkill Band – Prophets of the Apocalypse

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Kristian Montgomery and the Winterkill Band – Prophets of the Apocalypse cover photo

image courtesy of Kristian Montgomery and the Winterkill Band

EP Review of Kristian Montgomery and the Winterkill Band: Prophets of the Apocalypse

Kristian Montgomery is an Americana-tinged rock ‘n roll savant. Despite the high expectations in place every time I listen to a new Kristian Montgomery and the Winterkill Band recording, once again, Kristian does not disappoint. And you know, I don’t even worry about the possibility anymore.

The first single from this record, “Leaving Texas,” was released a several weeks in advance of the EP. It’s a friggin’ masterpiece. You know how sometimes you hear a new song but it sounds as if it’s a long-time favorite that’s already a big hit. That’s “Leaving Texas.” Big sound, jangly rolling guitar line, powerful vocals, monster hook, and singalong lyrics: “I’m just leaving Texas, and if I live I’ll see you at home.” If you typically think Americana music is too bland for you, you’ll hear a song like “Leaving Texas” and think to yourself, “Wow, maybe I do like Americana music.” Then you’ll listen to almost any other Americana artist, whose music just lies flaccidly on the record, and realize that, no, you do not in fact like Americana music, you just like the genre’s very best artists, like Kristian Montgomery and the Winterkill Band. Unprovoked attacks on Americana music aside, I have discovered that Kristian always has at least one “how is this not a mega-hit?” songs on each record, and “Leaving Texas” is that song on Prophets of the Apocalypse.

Kristian Montgomery and the Winterkill Band – "Leaving Texas" single cover art

image courtesy of Kristian Montgomery and the Winterkill Band

So far, “Leaving Texas” has remained my favorite track on this EP, but another truism about KMWKB albums is that pretty much any song can creep up on you and be your favorite at a later date, sometimes a different one every day, so don’t sleep on the rest of the EP. As if it would let you.

The following song, “That Bitch Done Broke” is a dense, noisy, sidewinding swamp-rocker. Rather, “rockin’ swamp-blues boogie,” as I called this style in my review of KMWKB’s A Heaven for Heretics. “That Bitch Done Broke” is a heavy-sounding example of the core sound behind much of Kristian’s music. And it’s addictive.

“Rock That Doesn’t Roll” adds a lot of classic guitar-blues flair to that swampy sound, while slipping some rhythmic choppiness into the recipe. And is that cowbell!?! Whether it’s actual cowbell or a similar percussion instrument, that’s just cool af.

“Cold Day in Hell” opens as a bit of a squealing psychedelic rock song before settling into a powerful, classic rock-influenced, arena-worthy, straightforward blues rock number that’ll have the audience singing along with “cold, cold, cold day in hell.”

The EP closes with “Foolish Devil,” a steady, plodding, emotionally pleading number delivered in that cool, blues-rock-country, kinda swampy style Kristian performs so well. And guitar fans will like the long, bluesy, wailing solo shortly past the song’s midway point. A song that drips in coolness, “Foolish Devil” is the perfect way to end this sidewinding, fully engaging record.

You can find Prophets of the Apocalypse here at Spotify and here on Bandcamp.