Album Review: Nobody’s Girl – Nobody’s Girl

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Nobody's Girl album cover

image courtesy of Hello Wendy PR

Album Review of Nobody’s Girl: Nobody’s Girl

Nobody’s Girl is a bit of an Americana supergroup, a collaboration among BettySoo, Rebecca Loebe, and Grace Pettis. With that pedigree, you’d expect songwriting and vocals to be among this trio’s strengths, and judging by this eponymous full-length album, indeed, they are.

Nobody’s Girl knows how to structure a song to build to power, to complement the vocals, and to connect emotionally.

The trio kicks things off emphatically with “Kansas,” a song whose music bed is as rich and lush as the group’s harmonies, a song sure to become an anthem of strength and support for those who left behind Kansas – whether the state itself or the state as a metaphor.

Throughout the rest of the disc, other favorites step forward, though the songwriting and delivery is so solid those breakthrough songs are destined to be different for each listener.

Nobody’s Girl tackles social issues in many of its songs. Songs like “Kansas” are subtle. Others, like “Promised Land,” are a lot more direct – though dependably tuneful, engaging, and catchy – lamenting the state of the U.S., but opining hopefully toward the end that “from where I stand, this could still be the promised land.”

“Rescued” stands out as an energetic song about personal independence with a cool rhythm line and, you just might notice, a small but effective guitar riff at just the right spot in the second half of the song to propel it home.

Difficulties of a career in music are fodder for the melancholically uptempo “Beauty Way.” Similarly uptempo “What’ll I Do” is a fun take on perhaps not the wisest romance.

Other notable songs include “Birthright,” singing forthrightly about a range of traumas, large and small, recent and generational; the floatingly, soft “The Morning After,” with its almost haunting musical backdrop and phrasing, particularly in the verses; and a relatively true to the original (but still oh-so-worth-the-listen) cover of  the Carole King classic “So Far Away.”

The disc closes with the sweet, folksy “Lark,” which repeatedly poses the question, “Where you runnin’ to?”

Individually, the members of Nobody’s Girl are obviously talented. Collectively, wow! And Nobody’s Fool is an exceptionally strong collection of songs that should be of interest to a group of fans with musical tastes ranging from singer-songwriter to pop-to-mid-tempo rock to some country-leaning Americana.

Looking Ahead

There are currently no tour dates listed on the “Tour” page of Nobody’s Girl’s website. However, there are current opportunities to see the trio perform separately. Rebecca Loebe’s “Tour” page shows that she has a September European tour planned. BettySoo’s “Shows” page shows that she’s in the middle of a continent-spanning summer tour. Grace Pettis’s website, meanwhile, lists a single September 21st date at McGonigel’s Mucky Duck in Houston, TX.

Album Review: Jeff Kollman – East of Heaven

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Jeff Kollman

photo courtesy of A.R.M.

Album Review of Jeff Kollman: East of Heaven (Marmaduke Records)

A few days ago, I reviewed an instrumental album from Lanterna. That was one of the two instrumental releases that have been gracing the top of my review-queue playlist during much of the last couple of years. This, Jeff Kollman‘s East of Heaven, is the other.

Jeff Kollman – East of Heaven

image courtesy of A.R.M.

East of Heaven is a classic rock-styled album, driven by Kollman’s axework. I don’t have many all-instrumental albums in my collection, but this one will sit proudly alongside my Steve Vai and Marc Bonilla discs. It’s one of those guitar-driven instrumental collections that can reach a broader market, with structured, catchy songs that’ll quickly become like old friends even for those of us who might typically like to sing along.

You may know Kollman from his hard-rockin’ stint with Edwin Dare in the ’90s or perhaps more recently from his prog-metal fusion group Cosmosquad. This disc falls clearly within the purview of someone with Kollman’s resume, showing off what he can do on a “solo” rock album. Of course, though Kollman’s guitarwork drives the record, his top-shelf bandmates make this truly a bandwide effort. Jeff is joined by Shane Gaalaas and Jono Brown on drums, Paul Shihadeh on bass, and Guy Allison on keyboards.

Jeff Kollman

photo courtesy of A.R.M.

East of Heaven opens with “Loss,” a 2-minute table-setting piece, sporting guitarwork with just a hint of distortion on what seems like a slowly-building music bed. It’s the sort of 2-minute album intro you might expect to kick off a classic rock album, particularly in the days when AOR ruled the world, and not necessarily just on concept-driven discs.

In the heart of the album, “Superstring Theory” is probably my favorite of the harder-rocking numbers, thanks to its driving rhythm. Other favorites include the more often – though not always – softer “Ghostly” and “East of Heaven” and the mellow guitar-picker “So Long Ago.” The songs on East of Heaven range from energetic to introspective to moody, though perhaps most often introspective, covering a broad spectrum of sounds and emotions.

Kollman closes the disc aptly with “See You On the Other Side,” a meandering piece with a recurring theme, traveling a musical journey that draws sonically upon many of the prior songs in the collection, combined in such a way that it seems to be saying “So long for now. We’ll meet again on the next album.”

If you’re a classic guitar rock fan, a guitar instrumental fan, or both, East of Heaven will be a welcome addition to your collection.

Jeff Kollman

photo courtesy of A.R.M.

More About Jeff Kollman

Since this album’s, there’s a newer single, “Green For Miles” (featuring Guy Allison), available from Jeff at his Marmaduke Records bandcamp page.

You can follow Jeff on Instagram for new announcements, including upcoming shows. Also, though there are no dates listed, you can watch the “Events” tab of Jeff’s Facebook page and the “Events” tab of Cosmosquad’s Facebook page for upcoming listings.

Single Review: Madysin Hatter – “Wild & Strange”

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Madysin Hatter

photo courtesy of Madysin Hatter; photo by Brandon Ripley of Sleepless Pictures

Single Review of Madysin Hatter: “Wild & Strange”

Madysin Hatter is a classic hard rock vocalist, a singer whose powerful voice is fully fluent in hard rockin’ howls and screams. She uses her vocal tool to great effect on “Wild & Strange.” The musicianship is tight and interesting throughout, not surprising given the pedigree of the musicians joining Madysin on this recording: Tyler Bryant (Tyler Bryant & The Shakedown), Frank Ferrer (Guns N’ Roses), Rob Bailey (David Johansen), and Brett Bass (Gregg Allman).

Madysin Hatter – "Wild & Strange"

image courtesy of Madysin Hatter; photo by Brandon Ripley of Sleepless Pictures

“Wild & Strange” begins with an instrumental build. Not a slow build, per se, but first crunchy drum, then guitars, and then a relatively unadorned vocal line through the opening chorus before the vocals get a little meatier and the music bed gets a bit fuller. By the second verse, the occasional guitar flourish changes things up some more, and by the end of the second chorus, it’s time for a sassy vocal bridge (“I’d need a lobotomy just to give you a shot at me…”) that leads into some brief guitar shredding. From there, the song ends in power – vocals, guitars, drums.

Madysin Hatter

photo courtesy of Madysin Hatter; photo by Kamera Shoots NYC

In summary, “Wild & Strange” is a true, crunchy rock song with a bit of an updated ’80s swagger. Well-structured, catchy, memorable, with excellent musicianship. Of course, that’s how I would describe the song as a reviewer. As a music fan, I’d just say “Dude, this song rocks!”

More About Madysin Hatter

To find your way to any and all things Madysin Hatter – interviews, recordings, music videos, press releases, and more – you can start with her “link tree.” As for live shows, there aren’t any currently scheduled, but if any are added you’ll likely find them on the “live” page of Madysin’s website.

You’ll find the video for “Wild & Strange”  here on YouTube. If that’s not enough, there’s also a lyric video available.

Album Review: Liz Bills and the Change – Liz Bills and the Change

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Liz Bills and the Change

photo by Andy Twyman Photography; photo courtesy of Liz Bills

Album Review of Liz Bills and the Change: Liz Bills and the Change

This is the eponymous debut album of Liz Bills and the Change. Blog readers may be familiar with Liz, who has been featured in these pages as Analog Heart’s vocalist and as a solo performer. Her latest act, Liz Bills and the Change, is toned down from her hard-rockin’ Analog Heart gig, but it’s still very much Liz Bills-styled music. And with this release, Liz is back in a band format, bouncing off of other talented artists who share the studio and the stage with her, so it has a cool energy. Always one to move forward and expand upon what she’s built before, this band and new release are a great next musical step for Liz; in fact, Liz Bills and the Change snagged the Pop Act of the Year award at the 2021 New England Music Awards.

This album is engaging from the very first listen, but it has so many layers and so much depth it gets better each time through, though with Liz Bills’ songwriting skills, that’s no surprise.

While Liz Bills’ music is frequently deep and introspective, it’s also, without a doubt, a lot of fun. Liz exudes a warm, enthusiastic, authentic energy during her live performances; it features prominently in her songwriting and in her recordings, too.

On brand, this album kicks things off with high energy. An energetic rhythm drives “The Train Song” in such a way you’ll not only bounce along to it, but you’ll find yourself screaming along with Liz’s vocal train whistle, “Whoo Ooh!” And yet, it’s not just a fun song. The train serves as a metaphor for life’s journey or, more specifically, life’s best – or at least more interesting – journey, and Liz sings tuneful encouragement.

Life’s journey continues with “Somebody Else,” as the verses chug along (because now you’ve caught the train, if I were to continue to train metaphor) interrupted by serious tempo and mood changes in the chorus and bridges (because your life may not always be on the track you expected).

Liz’s songwriting drifts home during the disc, notably in the next song, “Home,” and a couple songs later, on “Mama’s Song.” There’s a little melancholy in the slow-tempoed but flowing “Home,” but shrouded more in remembrance than sadness. “Mama’s Song,” meanwhile, is an ode – a very personal lyrical love letter – to a mother from a child who knows the mother did her best and appreciates all she’s done, even as the child is just slowly coming to this realization gradually with each passing year. This introspection seemingly culminates with the revelation that is this song, which acknowledges just what the mother has accomplished and, perhaps, sacrificed.

Nestled in-between those two tracks sits “When I’m With You,” a tuneful, folksy, strumming love song. Even a slow song like this moves along with a bit of a motor when performed by Liz Bills and the Change. Liz’s music never gets too mellow, even when her songs are chill.

“Wi-Hi” is a fun, funky, dynamic song about the psychological ill effects of being constantly connected. “Gasoline” is a playful song about playing with fire, mixing imagery with metaphor – mostly metaphor, but it makes for a clever, fun ditty. And “Come Back to Me” closes the album with a funky rock ‘n roll flair, a style we’ve come to know well from Liz through the years.

Once again, Liz Bills has assembled an album that’s a fun listen – I’d dare you to try not to smile while listening, but you might hurt yourself – while being thoughtful and introspective, causing listeners to examine their own preconceived notions. It’s a stellar debut for Liz’s newest band, Liz Bills and the Change.

Looking Ahead

There are a few upcoming shows listed on the “Tour Dates” page of Liz’s website. She’ll be at the Summer Soiree 2023 in West Sidney, ME on July 27th, at TroutStock 2023 in Rutland, MA on August 4th, at the Boston Harbor Distillery in Boston, MA on August 25th, and at Wormtown 2023 in Greenfield, MA on September 14th. Of course, keep checking back to see new dates at they’re added. Also, be sure to follow Liz’s Facebook and Instagram accounts for show and career announcements.

Single Review: John Lodge – “The Sun Will Shine”

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John Lodge – The Sun Will Shine

image courtesy of Glass Onyon PR

Single Review of John Lodge: “The Sun Will Shine”

“The Sun Will Shine” was released in the spring of 2021 by John Lodge, bass player, songwriter and vocalist of The Moody Blues. The song was recorded remotely by John and his 10,000 Light Years Band during to the pandemic and also features Jon Davison from Yes on background vocals.

John Lodge

photo by Brian Aris; photo courtesy of Glass Onyon PR

Musically, “The Sun Will Shine” duplicates the rich harmonies of the Moody Blues, stylistically a potentially good pairing with The Moody Blues’ hit single “Your Wildest Dreams” from the band’s The Other Side of Life album. “The Sun Will Shine” has the same lush music bed, though perhaps a slightly more understated lushness – but only by comparison, of course. John’s voice remains full, smooth, and precise. Indeed, this song would seem to be a must-have for any fan of John Lodge or the band for which he’s famous.

In Addition

“The Sun Will Shine” was designed to be part of an On Reflection EP to be incorporated into John’s live album, The Royal Affair and After. However, neither John’s website listing nor the Amazon page for The Royal Affair and After mentions anything about an On Reflection EP, so your guess is as good as mine if one exists… unless you have a copy, of course. (Then please let me know in the comments.) However, you can find the song “The Sun Will Shine” available for purchase on John’s website. In addition, several other ways to purchase or stream the song are available at this link: https://lnk.to/TSWS.

Album Review: Lanterna – Hidden Drives

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Lanterna

photo by Theo Merritt; image courtesy of Howlin’ Wuelf Media

Album Review of Lanterna: Hidden Drives (Badman Recording Co.)

You know how sometimes the way an album hits you is more about a sound than it is about the individual songs? Well, Lanterna‘s Hidden Drives is one such record. Over the last year or two, this collection of instrumental tracks has resided near the top of my to-be-reviewed queue, providing a warm, rich music bed conducive to the thoughtful analysis required by my work. Though Hidden Drives is soft and unstartling – important to those who listen to music while they work – it also features musical hooks and flourishes that embed themselves into the listener’s brain, capable of reappearing unprompted in the mind days or even weeks after the most recent listen.

Lanterna – Hidden Drives

image courtesy of Howlin’ Wuelf Media

Musically, Lanterna’s songs float and flutter – the fluttering a result of adeptly-picked guitar strings – while similar rhythmic themes seem to reappear from song to song. The reappearance is, of course, more complete in the handful of songs that are reprised at the back-end of the disc. Hidden Drives contains 15 tracks. It kicks of with ten songs, then ends with reimagined versions of five of those ten. For example, the smooth strummed, warm motor of the second song on the album, title track “Hidden Drives,” reoccurs on track 11, “Hidden Drives (Thomaston).” You know, to be honest, the differences in the remixes are generally too subtle for me to realize when the songs cycle back around. However, it’s the repetition – both the similarities of different songs and the repeating of several songs at the end – that causes this album to quickly feel like an old friend.

Much of the album is quiet and mellow, but you’ll find bursts of energy. “Chagrin Boulevard,” “Aqueduct,” and “Nice” are a few songs that provide that modest tempo variance. But the mellower songs are the backbone of Hidden Drives. Favorites include “Cupola” and “Cupola (University Avenue),” “Redwood” and “Redwood (Sans),” and “Flag.”

In all, I have really enjoyed listening to the disc regularly for months and months and months. If you dig light but interesting instrumental soft rock, whether as a soundtrack to your workday or in any other locale, you owe it to yourself to give Lanterna’s Hidden Drives a test drive.

Looking Ahead

Though there are no upcoming shows listed, you can find performance dates, as they’re added, at the bottom of the main page of Lanterna’s website and on the “Events” tab of the band’s Facebook page.

Single Review: Jennifer Tefft – “A Little More”

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Jennifer Tefft

photo by Tim Rice; photo courtesy of Jennifer Tefft

Single Review of Jennifer Tefft: “A Little More”

Jennifer Tefft is one of Boston’s top rock ‘n roll voices, and she’s recognized for it. In 2021, she was recognized as the “Female Performer of the Year” by the New England Music Awards. “A Little More,” one of Jennifer’s 2021 singles, is a little bit of proof why.

Jennifer Tefft – "A Little More"

image courtesy of Jennifer Tefft

The song opens aggressively with a driving, slightly off-center guitar sound, supporting a kniving, edgy vocal akin to what you might have expected from Pat Benatar as she was rising to prominence decades ago – not the same sound, of course, but a similar vocal approach and attitude. It’s a timeless power that Jennifer maintains throughout the song, a power the song never relinquishes, even when her vocal isn’t present during late-song bridges that should feel less intense but don’t.

When the vocals aren’t aggressively edgy they’re still hauntingly so, while the guitar line and drums are practically incessant and unrelenting.

Jennifer Tefft

photo by Tim Rice; photo courtesy of Jennifer Tefft

If you don’t have this song on your playlist or in your collection, grab it now and make it a frequent listen. It has been a song I’ve looked forward to hearing during every trip through my review queue, even as I went through more than a year and a half without finding an opening in my daily schedule to pen a review. “A Little More” should be considered a staple of any music collection and can be expected to have staying power.

More from Jennifer

“Fade or Burn” and “Better Days” were also 2021 releases, and Jennifer’s website says to expect new music in 2023.

Live Shows

Check out the “Shows” tab of Jennifer’s website to see scheduled performances. There are a few shows already scheduled around Massachusetts this summer, so see if Jennifer will be performing near you and, of course, check the page again later to see new dates as they’re added.

Also follow Jennifer’s socials – her Instagram and Facebook accounts – to see schedule updates, such as this post about the recent storm-driven rescheduling of her Franklin Town Common, noting its make-up date of August 4th.

Album Review: Shawna Caspi – Hurricane Coming

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Shawna Caspi

photo by Roni Hoffman; photo courtesy of Shawna Caspi

Album Review of Shawna Caspi: Hurricane Coming

This isn’t the first time I’ve reviewed Shawna Caspi. She’s one of my favorite folk-based artists, with a pure and precise – yet emotional – folk voice that makes every song seem like it’s telling a story. It takes a special artist to stand apart in this crowded genre, and Shawna does, indeed. (If you read my live review of Shawna’s WICN performance a few years ago, you already knew this.) Today, I’m writing a long-overdue review of Shawna’s most recent album, Hurricane Coming.

One of my favorite things about Hurricane Coming is that Shawna flexes her musical muscles a bit on this disc, with compelling and varied songwriting and, perhaps more importantly, a stretch of Shawna’s vocal range and style, with occasional growling grit and some emotional reaching-for-notes thrown in to complement Shawna’s sweet, smooth vocal power.

Shawna Caspi – Hurricane Coming

image courtesy of Shawna Caspi

That variance doesn’t start with song one, though. Shawna kicks things off with a strong steady strum and her comfortably smooth voice, engagingly dancing through a fast favorite in her inimitable, classic style – folky, uptempo songwriter rock with a rich music bed, “Wait Love.” That’s followed by the plaintive, pleading “Leaving Ain’t Easy,” a memorable track that features a sad guitar wail and is sure to be a favorite of some, particularly those wallowing in heartbreak.

Next song, “Ghost Town,” is the one in which Shawna seems the most like a stripped-down rocker. Yes, one of my favorites. It’s uptempo, driven by an energetic rhythm line, intermixed with some distorted country-style strumming and, well, those lyrics. The lyric that hits closest to home for me comes when Shawna croons, “I feel like the worst kind of person most of the time, a big city bully when I’m stuck in line with the postal clerk who types too slow, and I make a sign like I’ve gotta go.” And yet it’s a song about being welcomed and accepted, especially when we travel with open hearts, even when we’re outside our comfort zones.

Shawna Caspi

photo by Roni Hoffman; photo courtesy of Shawna Caspi

“Echo” exudes the full emotions of a melancholy remembrance. “One More Chance,” too, showcases Shawna’s ability to turn a phrase well, with a steady rhythm keeping the song moving even as its guitar parts and vocal line seem to want to meander. And “Hope Lives” is softly powerful, painting vivid pictures of an abstract emotion.

Shawna picks up the tempo a little on “Lay Low Shadow,” with a hint of country twang, though it’s really more the instrumentation than her vocal that waxes country, even if it sometimes feels otherwise. But it’s a brief uptempo interlude, as the mellow, sweet, emotional “Running Start” provides a slower but commanding follow-up.

Penultimate track “Celebrate” is playful and uplifting, with guitar picking dancing playfully, emphasizing the light-hearted hopefulness of celebrating small victories.

Final track “Hold the Light” is more densely instrumented, delivering a satisfying ending to Hurricane Coming. Throughout, though it pulls no punches about life’s difficulties, this album is hopeful. And, of course, pleasant to listen to, well-suited to Shawna’s vocal talents.

Since the Release

Hurricane Coming was nominated for a 2023 Canadian Folk Music Award in the Contemporary Album of the Year category.

Shawna Caspi

photo by Eric Thom; photo courtesy of Shawna Caspi

On the Road

Shawna has several upcoming gigs already scheduled in the U.S. and Canada this year. On July 21, you can catch her at the Two Way Street Coffee House in Downers Grove, IL, and on July 23, she’ll be performing a Knight Road House Concerts show in Ann Arbor, MI. August features several shows in Ontario plus a mid-month gig in Manitoba. Beyond that, there are New Jersey and Ontario shows booked later in the year, and a Fort Myers, FL performance already scheduled for April 2024. Be sure to check the “Gigs” page of Shawna’s website for dates, times, and venues.

Single/Video Review: Stormstress – “Buried You in the Snow”

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Stormstress

photo by Fuel Heart Productions; photo courtesy of Stormstress

by Eric Harabadian, Contributing Blogger

Video Review of Stormstress: “Buried You in the Snow”

Stormstress is a hard rock/heavy metal trio, with ties to Boston and Detroit. Mirror image sisters Tanya Venom (guitars/vocals) and Tia Mayhem (bass/vocals), along with Maddie May Scott (drums/vocals) are riding high off the success of their independent release Silver Lining in 2022. This is their first foray into new material since that album, and it presents a perfect balance of raw power and vocally orchestrated bliss. Amid a white background, the band erupts, with a scream and a swath of crunchy guitars, pummeling bass and sparse, meaty drums. Their hair and garb are a mix of black and white, fiery reds, icy blues and extreme face paint that all add to the drama of their message.

“Buried You in the Snow” takes on the demons and situations in life that haunt us, whether that be an addiction, a personal impasse, or just any barrier that stands in the way of you emerging as your best self. The song is all about letting go of that seemingly insurmountable albatross and finally finding vindication and freedom in one’s own skin. Here’s a taste of some of the lyrics that set the scene: “I could feel the bite of winter in the air. Not a single star to shine on my despair. By the candlelight, I drew the 13th card, the Reaper spoke I had to break your heart.” And the second verse really cinches a first person account of the loneliness one feels enmeshed in a problem, with “The bliss in your eyes, faded away… oh! Dusk beckoned while you begged me to stay. But when midnight struck, I made a vow I’ve gotta learn to be strong somehow… alone.” Cut from a similar cloth as Dio, Epica, and Heart, Stormstress delivers a powerful treatise on self-actualization, blended with supernatural and gothic imagery. It’s a combination that truly resonates, via Venom’s superb guitar work and the stunning call and response vocals of counterparts Mayhem and Scott.

Stormstress

photo by Fuel Heart Productions; photo courtesy of Stormstress

The song resolves as Venom’s imagery involving the darkness of night and the shimmering white of snow is culminated this way: “All I could see was shades of white, I swear it was the hardest night, but I let the dark take you away (I had to let you go)… I buried you in the snow… until you were gone!” And with that, mission accomplished in a heart-wrenching and poetic song destined for these modern times.

Kudos go to co-producer/engineer Doug Batchelder of the Den Studios for his masterful and meticulous handling of the delicate frequencies and elegant captures of the band’s multi-dimensional vocals. The overall sonic palette as well as, of course, the song itself is truly a work of art!

Stormstress

photo by Fuel Heart Productions; photo courtesy of Stormstress

Looking Back

You can find the Blog‘s review of Stormstress’ Silver Lining here.

Looking Ahead

Keep an eye on the “Tour” page of Stormstress’ website for upcoming concert data. Currently, it lists two upcoming shows in Provincetown, MA: Friday, July 21st; and Friday, October 13th. The trio just rocked Detroit and Chicago a couple weeks ago – and Provincetown last weekend – so I’m sure more dates will be added to the calendar soon.

You can also follow Stormstress on TikTok, Instagram, and Facebook to keep up-to-date.

Album Review: Carl Weingarten – Stop Me Try

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Carl Weingarten

photo courtesy of Rock Rose Music

by Eric Harabadian, Contributing Blogger

Album Review of Carl Weingarten: Stop Me Try (Multiphase Records)

Carl Weingarten is a guitarist/composer who works in a lot of different artistic mediums. He is a master on slide guitar and Dobro but also is very facile in terms of programming and sound design. His background as a photographer and filmmaker seems to permeate most of his work in the jazz, blues, and ambient music fields. In particular, this album features five slices of electronica and chill-oriented pieces that are rife with dreamy imagery and surreal landscapes.

Carl Weingarten – Stop Me Try album cover

image courtesy of Rock Rose Music

This extended five track album features Weingarten playing the lion’s share of guitars, keyboards, and devices. Frequent partner – and an artist in his own right – Michael Manring blends subtle coloration with bold aural brush strokes on fretless bass. The result, to this reviewer’s ears, harkens back to some of the groundbreaking efforts by Ralph Towner, Terje Rypdal, and Eberhard Weber on the European ECM record label.

“A Fistful of Dust” is an example of this otherworldly sound utilizing various clever production ideas and melodic guitar figures. Strings and orchestral filigree mix with dense percussion for a Mediterranean/Near and Middle East cultural mash-up. “Ideas of May” is kind of moody, with a hint of jazzy samba beats. The droning and spacey guitars suggest some of David Gilmour and Robert Fripp’s finest work. “Night Life Again” focuses on the groove and interwoven themes and percolating rhythms. Various converging guitar sounds rally around a modal harmonic approach. “For Rosa” is kind of a modal blues, with an oscillating and bubbly beat. It’s also somewhat celestial and swings, ever so slightly. The title track, “Stop Me Try,” typifies the entire nature of this disc – dreamy, atmospheric and spiritually techno. The music gradually builds as it breathes and gets a funky undertone from Manring. The result sounds like something, not unlike the mid-’70s period for bassist Rosko Gee as a member of Krautrock experimentalists Can.