Eve Adams American Dust Basin Rock
Singer-songwriter Eve Adams' writing has been described in the past as 'equal parts violence and romance,' and in keeping with that portrayal, her fourth album, AMERICAN DUST, is a fearless and profoundly emotional affair.
Like many other artists inspired by the vast desert landscapes of the American West, Adams' latest record was drawn from the open spaces and surreal landscapes of the high desert. The writing is all the more credible given that Adams relocated from the city to the desert's remoteness a few years ago, in search of a more serene quality of life. That dramatic change of scenery is addressed in the opening track, Nowhere Now ('Washed the ashes and dust off of Los Angeles, now she's clean and unafraid'). Explaining the album's thrust, the song reads like the preface to a novel, and Adams's wispy, almost childlike vocals, set against an evocative backbeat of percussion, are stunning. That sonic landscape and sense of isolation and aloneness are repeated in Strangers, before things take a murderous and macabre turn in Dirty Thirties and the dark, Bonnie and Clyde-type murder ballad, Ricochet, which inevitably ends in bloodshed. Equally, there's little joy, well-being or happy ending in the break-up song, Ask Me, though a glimmer of hope for a lasting relationship does raise its head in Get Your Hopes Up.
Adam's intense vocal performance perfectly matches the vulnerability and sadness in much of the material. Multi-instrumentalist Bryce Cloghesy (a member of the Canadian music collective Crack Cloud) produced the album and contributed the bulk of the instrumentation; his piano and guitar work are stunning. Also adding their skills were Gamaliel Traynor on cello and Oliver Hamilton on violin.
A dark sentiment is embodied in AMERICAN DUST, confronting issues often avoided. Adam's tackles isolation, sacrifice, and unfulfilled dreams head-on in a collection of intense songs. It's far from a Saturday night listen and does require repeated listens to be fully appreciated. However, that investment of time is well rewarded, particularly for lovers of gothic folk-noir.
Declan Culliton
Case Oats Last Missouri Exit Merge
Recorded over three days in the gloomy basement of a house in Chicago, LAST MISSOURI EXIT is the debut album of five-piece outfit, Case Oats. The band members are Casey Gomez Walker (lead vocals, acoustic guitar), Spencer Tweedy (drums), Max Subar (guitar, pedal steel), Scott Daniel (fiddle) and Jason Ashworth.
The album’s title stems from a signpost located before the Illinois and Missouri border, spotted by Gomez Walker, as she drove from her hometown to relocate to Chicago. Defining both a new chapter in her life and the transition from childhood to an independent adult, the title and the album’s central thrust is that of Gomez Walker’s ‘coming of age.’ The production duties were shared by Gomez Walker, Ashworth, Subar and Tweedy, the latter’s previous experience of recording in Wilco’s loft studio no doubt proving helpful.
A graduate in creative writing, Gomez Walker revisits her teenage years, not wearing tinted glasses and without any degree of comfort, in Seventeen (‘think about how much you didn’t know, racing cars on the drive home. Close your eyes trying to find help, aren’t you glad you didn’t kill yourself?’) and Kentucky Cave. The latter is a twangy affair telling a tale of a close acquaintance who has a mental illness. Darker still and based on an actual event, Bitter Root Lake tells of a couple who steal a plane only to crash into a lake, killing one of them. In A Bungalow considers the tug between homesickness and leaving the nest seeking new adventures (‘there’s nothing wrong with missing your friends or your parents’ house, dad asleep on the couch’).
Genre hopping from quirky country to soulful indie-folk, think David Berman or a youthful Alynda Segarra, Gomez Walker’s almost childlike vocals could not be better suited to her confessional and pin-sharp writings. Added to this, by also recording live, there is a charming innocence to the record. From the countryfied opener Buick Door, which delves into family life in small-town Midwestern life, to the jaunty closer, Bluff, they don’t put a foot wrong. A standout debut record that I’ll be revisiting regularly in the coming weeks and months.
Declan Culliton
Kathleen Edwards Billionaire Dualtone
Few songwriters can match Kathleen Edwards’ capacity to write so articulately and credibly about emotionally raw terrain, as well as observational matters. Her deliberations on failed romances have been particularly impassioned and have repeatedly found her at her most fluent. Old Times Sake from BACK TO ME (2005), Asking For Flowers from the album of the same name in 2008, Change The Sheets from VOYAGEUR (2012), and Hard On Everyone from TOTAL FREEDOM (2020) are just a selection of eye raising songs, written from the heart and detailing the end of emotionally abusive liaisons.
Having stepped back from the music industry in 2014 due to burnout and disillusionment, Edwards took refuge in the ironically named Quitters, a coffee shop in Sittsville, Ottawa. Following a request from Maren Morris in 2017 to write a song for Morris’ album GIRL, Edwards’ creative mojo returned, and she began writing material for what was to become her 2020 release, TOTAL FREEDOM.
Fast forward five years, and she is well and truly back in the game with BILLIONAIRE. Produced by Jason Isbell and Gena Johnson, a host of celebrated players, alongside Isbell and Johnson, who collectively contributed guitars, keys and background vocals, joined the recordings. The contributors included Anna Butterss (bass), Annie Clements (bass), Chad Gamble (drums and percussion), Jen Gunderman (piano, celeste, Hammond B3 organ, Wurlitzer) and Shelby Lynne and Allison Moorer (background vocals).
Now settled in sunny Florida, one might have expected a ‘happy’ album rejoicing in newly found contentment and well-being. Conversely, this is far from the case, and the writing and the guitar and keyboard-driven tempo across much of the album hark back to her earlier recordings, FAILER and BACK TO ME. She’s spitting fire and at her rockiest from the onset in Save Your Soul (‘Line your pockets with gold, line your pockets. Who's going to save your soul, when your money's no good at all’). She visits that ‘break-up’ theme in the dynamic and high-powered Say, Goodbye, Tell No One that follows (‘I was always good to you, you can get blisters from your favourite shoes…. Here’s the truth wrapped up in a lie, I never cared and I never tried, I don't miss you and I never cried’).
The emotionally-charged Need A Ride is a close relation to and equally as hypnotic as Goodnight California from ASKING FOR FLOWERS, and those romantic entanglement anxieties raise their head again in the mid-tempo album closer, Pine. Despite its standard reference to financial possession, the album’s title and track of the same name refer to the pursuit of the simple things in life that bring long-term happiness and contentment, rather than any monetary declaration.
Disheartened and drained after the release of VOYAGEUR and before taking time out from the industry in 2014, Edwards expressed her frame of mind as ‘No one cares, I’m just not good enough.’ Fortunately, those negative thoughts are a thing of the past, and BILLIONAIRE is yet another jewel in the crown by one of the most vital artists of the past two decades. Old-school alt-country at its best and essential listening.
Declan Culliton
Nowhere Brothers Till The End Of Nowhere Timezone
The backstory to Italian-born Roberto Fiorelli and Nicola Ventolini's musical venture is quite unique. Their connection began two decades ago, fuelled by their mutual love of music and travel, the latter often involving the exploration of remote desert lands. That friendship resulted in the formation of Nowhere Brothers and the recording of their debut album DOWN LIFE BOULEVARD in 2017. That album, recorded over two days in Phoenix, Arizona, celebrated the couple's nomadic lifestyle and was skeletal, lo-fi and gripping.
Their latest ten-track project's inspiration stems from a similar background. Once again, taking the open landscapes of the American West and its inhabitants as their mainspring, TILL THE END OF NOWHERE is loaded with a ghostly atmosphere.
Abandoning the stripped-back direction of their debut album, they adopted a fuller sound this time. The opening track, Mestizo, with a thumping drumbeat up front, is written from the perspective of a mixed-heritage truck driver whose only solace from his work is the realisation that the roads he travels were once the home of his people.
Tragic love is the backstory in the rampant Barstow, which has a rootsy Rolling Stones vibe to it and features killer backing vocals by Dajla Jakomin. The funky gospel crossover Fever also features Jakomin in full voice, and Saviour's Howl recalls the classic border sounds of Calexico. Returning to the shape of their debut album, the most stripped-back track on the album, Blackeye follows the survival of a cowboy who refuses to abandon his now infertile land. Mesmerised rejoices in the freedom and thrills of cruising the dusty and open roads on motorbikes.
An international affair, written and produced by two Italians, recorded at BA Audiolabs in Laupheim, Germany, and brought into being by the landscapes and natives of the American west, TILL THE END OF NOWHERE casts its spell far and wide. The songwriting is timeless, often harking back to previous eras as well as the modern day, and the songs are executed stylishly. Hopefully, this album won't be overlooked, and Nowhere Brothers will continue to record spirited projects like this one.
Declan Culliton
Kevin Holm-Hudson Travellers Rest Self Release
A Professor of Music Theory and Composition at the College of Fine Arts in University of Kentucky, a published author, and an active songwriter and performer. Kevin Holm-Hudson is clearly a very talented individual with much to offer in the space of creative flow. With three prior albums to his name MESSAGE FROM THE MARGINS (2021), THE TREMBLING AIR (2022), and MILKWEED (2023), you could say that he is on a golden streak with no sign of slowing down. A Christmas record arrived in 2024, and there has been a further single which saw the light in early 2025.
This new album has fourteen tracks and the credits highlight Kevin Holm-Hudson on vocals, acoustic guitar, keyboards, bass, electric guitar, slide guitar, and mandolin. He also wrote all the songs and is joined by Dr. Jim Gleason on electric guitar, and pedal steel guitar, who also produced and mastered the album. Toby Holm-Hudson plays bass on six songs, David Chapman provides drums, and percussion, with Ahmed Ibrahim also playing percussion on one track, and the Woke Ridge Boys providing vocals on another. The album was recorded at The Blue Room, Claustro Phonic Sound, and Gnome Hollow Studios.
There is a theme of travel on the album with both What the Heart Wants and Hotel Breakfast Lounge songs that view the need to be away from routine and creating lasting and new memories. The celebration of friendship is captured on Hello Old Friend while the title song Travellers Rest is about looking back on life as it winds down and being pleased with the years that were lived. A similar reflection is covered on Time In This World.
Chances not taken and dreams unfilled form the essence of Last Of the Local Legends and there is unrequited love running through the teenage angst of Invisible Boy. The music machine in Nashville is dissected on Thrashville with the words ‘Get yourself a cowboy hat, it won’t do you any harm, Nobody could know you never set foot on a farm.’ The sentiment of Melancholy Man is one of wanting a real friend and of putting away all illusions of how we define, and lie, to ourselves.
The ties that bind are covered in songs such as Home and Picnic where the memory of lives entwined are both celebrated and remembered. The latter song also threads an anti-war message into the fabric and the damage left by serving a cause. The positive sentiment captured on both A Radical Thought and Light Of Peace is well received in these troubled times and perhaps there remains some hope for us finding a solution to the conundrum of seeking out peaceful living.
There are carnival sounds to accompany final song Goodnight Waltz and it’s as if our visit to the fair has come to an end; it’s time to say goodbye to our youthful dreams and to embrace the chance to make a difference in the years we are still given. This is a very enjoyable listen and the songwriting is excellent. Great production also and a keen sense of the enjoyment experienced by the musicians make this an album to celebrate.
Paul McGee
Crys Matthews Reclamation Self Release
Music has always walked hand-in-hand with the fight for social justice in society and it has often stood as the champion of the repressed and the downtrodden. From the early days of Woodie Guthrie and his socialist Folk songs against fascism, all the way through to Dylan and Springsteen, the power of the song has been to the fore of human struggle and the simple symbol of a guitar given the elevation as a machine that delivers truth.
Crys Matthews is based in Nashville and her upbringing has been one of a preachers daughter with a sense of what really matters in living your truth. As a gay, black woman Matthews has had to face bigotry in many different guises and she has stared it down at every turn. On the song Suit and Tie she sings ‘This world is a mess, and it's getting worse as days go by, uncivil unrest about who's a girl and who's a guy, But this heart beating in my chest knows the truth I can't deny: I might look good in a dress, but I feel better in a suit and tie.’
Another song that hits the mark is Like Jesus Would and the words ‘In my hometown, there's a church on every block, sanctified folks who'd much rather pray for you than talk, They cherry-pick the good Word and hold on to the bad parts, so they can wilfully ignore every lesson Jesus taught.’ This reflection is typical of the incisive observation that runs through the songs of Matthews and the humanism that shines through her words is to be applauded.
In Cancel Culture she nails it right down to the core ‘There's a whole lot in our culture we could cancel if we tried: instead of banning abortions, we could trust women to decide; every size and shape of body could be normalized; and every type of mental illness could finally be destigmatized. No more squeezing and contorting into boxes we don't fit. No more saying that we're fine when we're not but scared to admit it.’ Wow, talk about speaking truth to power!
In Her House is a strong tale referencing domestic violence against women, and the superb I Want It All is a standout track with a beautiful rising melody and a love song for all to enjoy ‘You're not too much, for me. There isn't any inch of you that I don't wanna see.’ Another love song is Red and visits the pain of sweet separation ‘ I'm having a hard time lately. It feels like I'm going crazy, from missing your touch. I miss you so much.’
The musicians include Megan McCormick (electric guitar, acoustic guitar), Ellen Angelico (electric guitar, mandolin, banjo), Jen Gunderman (Wurlitzer), Ryan Madora (bass), Michael Majett (bass), Megan Coleman (drums), Larissa Maestro (strings), Heather Mae, Kyshona and Shannon LaBrie on featured vocals and Melody Walker, Chris Housman, Nickie Conley on backing vocals.
Sister’s Keeper is a song in support of women’s rights and the power is in the delivery from passionate vocals and the assembled musicians. My Skin really sums up everything in the words ‘I don't want your thoughts and prayers, and I don't want your tears, I just want to be able to live my life without fear.’ Trying to search for balance and meaning in this crazy world can be self-defeating and it is something of a small miracle how minority groups continue the fight to push through. This is an album of real gravitas and with seventeen songs running over one hour of listening pleasure, it is an essential purchase.
Paul McGee
Ashley E. Norton The Red Guitar Self Release
Ramona in California is currently home to Ashley E. Norton and she was given the honour “Citizen Of The Year” in 2023 for her role in growing Ramona’s music scene with the foundation of the Ramona Music Alliance. She grew up in Arizona and after moving to Nashville she began to embrace the songwriter nights that were doing the rounds in many of the venues. Over time, she decided to focus on all-female songwriter get-togethers, in attempts to represent women in the greater scheme of things within that local music scene. This continued into a monthly Songbirds Of Ramona Ranch series residency at Ramona Ranch Winery.
Norton also founded the all-female group called Lady Psychiatrist Booth, now performing as Dolly’s Revenge, and known as a high energy San Diego band. When we reviewed Norton’s debut solo album towards the end of last year, we spoke about the eleven songs highlighting “the broad talent of this artist.” Well, on this four-song EP she certainly proves the point by taking on a fascinating project to highlight the incredible story of Paul Weisner and the great risks that he took as housemaster of Het Loo Palace, home to the Dutch Monarchy. During the second world war the palace was converted into a hospital for wounded German soldiers during their occupancy of Holland, and Paul Weisner concealed a radio transceiver that was used to help the Dutch resistance stay a step ahead of the hated Nazi occupiers.
The fact that the radio transmitter was hidden inside an unassuming red guitar is the link to the key song The Red Guitar. Performed solo acoustic by Norton the resonance of the story is captured superbly in the words ‘A trojan horse, all the lives it saved.’ The risk of death was ever-present and yet the daughter of Paul Weisner recalls vividly the memories and the circumstances that surrounded the presence of the iconic red guitar. It was the carrier of much more than melodic tunes and it saved countless lives and gave hope to the Dutch Underground.
The other three tracks on the EP are acoustic versions of songs that appeared on Ashley’s solo album, Every Woman I Know, or on previous Lady Psychiatrist Booth output, with both That Girl and Love You In the Dark giving strong affirmation of the roles that women play in the shaping of our societies. Whether in the role of supporting, striking out for independence, or providing safe haven, their celebration of positive affirmation is to be acknowledged. For the last five years, Norton has been writing a new song every week and posting it to Patreon for just $5 a month. The sign of a prolific artist at the very top of her game. This EP does everything to continue her interesting upward direction.
Paul McGee
Nero Simon and the Sunsetters Pura Vida Self Release
“Pura Vida” is a phrase that is commonly heard in Costa Rica. The translation is “pure life” but the true essence references a way of life and a state of mind. This album is the third release from the band since the debut TREASURE CHEST appeared in 2022 and they have their roots in Atlanta, Georgia.
The musicians are Nero Simon (vocals, guitar), Mary Ann Ooten (vocals), Stephen Flores (guitar, backing Vocals), Marcus Durham (bass, backing vocals), Michael Hester (synths, backing vocals), Sam Ross (drums), and Jeff Gaines (saxophone). Their sound is very bright and breezy, and perfectly highlighted in the standout track Campeche, a state in Mexico, with the vibrant guitar sound very reminiscent of a compulsive Santana groove.
Elsewhere, Nero Simon and Mary Ann Ooten share harmonies, and their vocals entwine naturally together on songs like Cruisin’ and Forever (Redux), with the rich production really lifting the arrangements in their delivery. A cover version of Love the One You’re With is included and the iconic Stephen Stills song is given a fresh coat of paint with the celebratory sound and tight harmonies laying a perfect path for the guitar parts to soar. The album is a nice fusion of Americana and Rock, mixed in a blender and producing the perfect cocktail for a drive down an East coast American highway on a summer’s day. Excellent from start to finish.
Paul McGee
Madison Hughes All That I Am Self Release
Jacksonville, Florida is home to this artist who first appeared on our radar back in 2024 with the release of her debut EP, a 6-track insight into her burgeoning talent. This time out Hughes has employed the services of Lera Lynn and Tom Lombardo on production and the ten songs are very impressively delivered.
Her vocal range is very powerful and she knows when to hold back in the song arrangements in order to allow sufficient space for the excellent ensemble playing from the studio musicians to shine alongside her in the bright production. There are no credits regarding who plays what on the album and this is an increasing frustration for music reviewers in our ’brave new world’ of downloads and streaming services. Suffice to say that the greater the information provided, then the better the review potential.
Songs of love and loss come and go, with So Close To Forever wiping down the rain on the windshield of romance, banjo and pedal steel lifting the melody; Waiting On You trawls similar waters where the wish for calm is disturbed by the ripples of doubt over what can be gained from a one-sided relationship. On Gypsy Wings we find sage advice given to fly free in the world and find your own path ‘Chase that shooting star so far that you’re never coming back again.’
Mystery Highway is a highlight here with it’s slow build and atmospheric groove, the message that travel without purpose is destined to lead to a cul-de-sac and a sense of dislocation. The pop country sound of So Real and All That I Am is perhaps forgivable, given the reality of having to find a mass audience by whatever means, while the understated duet with Brent Cobb on Nobody Knows Your Love wipes away any doubt and returns full faith in the vision of this talented new singer songwriter.
Paul McGee