“Big Blue Sky” is a track that, from the very first seconds, showcases the experience and passion behind the music. The initial notes of the guitar riff, which sound both dramatic and hefty yet hopeful, demonstrate how effectively KP can evoke deep emotion.

While the track doesn’t necessarily feature any vocals, the main instrumental—the electric guitar—swings from dynamic bursts to more slow-paced, contemplative moments. The track feels extremely crescendo-driven, particularly at the start when the drums begin to pick up, amplifying its steady nature.

I also, quite frankly, appreciate how the drums are utilized throughout the track to bolster its epic and textural feel. They certainly do not take on the role of the main instrument like the guitar does, which intentionally feels overpowering, providing weight. The drums, on the other hand, play a steady yet explosive and punchy role, offering a moment for orchestrated elegance to develop and adding another layer of monumental charm.

“Big Blue Sky” also feels hypnotic and psychedelic to an extent. The track’s sequence slightly reminds you of something you might hear on The Final Cut by Pink Floyd, combining a heavy sound with a sense of resolution. This resolution is evident in the outro, which feels both content and powerful.

I feel strongly about this track. It represents a powerful, wordless, yet vibrant and saturated journey that takes you from one emotional and sonic space to another.

Score/Excellent: “Big Blue Sky” and KP showcase what years of musical experience should sound like. The ease with which the artist evokes emotion is simply impressive. The track demonstrates a level of professionalism that is both artistic and striking.

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The album’s inception initially hints at this anarchic sound that feels so textural and physical due to its omnipresence. Surprisingly, the album isn’t rooted solely in gritty, raw sounds—instead, it aims for a seismic yet very polished vibe.

This record certainly could be divided into two separate parts, with the first one having “Higher Ground” and “New Messiah” that aim for this dark, snarling sound, which is much closer to usual hard rock. The artist opts for a dreamlike sound, particularly on “Higher Ground.” During the chorus part, the catchy and captivating vocals with the ominous instrumental present to you an unhinged yet perfectly rhythmic song. What is probably the highlight of this specific track is the outro, where the artist gives you such a dynamic and cinematic experience with his guitar solo closing the track perfectly.

When it comes to “New Messiah,” which is also more chaotic and rapid in its delivery, East of Anthony balances between rough and storytelling-heavy delivery. The sound throughout the track shines the most when you hear an artist getting into the zone closer to the chorus, where you can hear all of the intricacies of the sound with smooth and crisp grooves. 

In regards to the 2nd part, which includes the next two tracks, “Free” and “Fake Faces,” the tracks opt for a more emotional type of delivery, putting a stronger emphasis on this grunge feel that stays hazy. If the previous tracks remotely give you a feel of dystopian chaos that is purely controlled by the artist’s tempo, these upcoming tracks rather represent your hallucinatory aesthetic. With the mind-bending mixture of instruments, epic entrance on “Free,” and a mysterious, slow-paced “Fake Faces,” the record truly achieves an immersive feel. 

Throughout the album, I recognized how well-balanced it sounds. You are not purely getting these mayhem-like sounds but also a mixture of sincere and dark soundscapes. 

Score/Excellent: I really enjoyed this EP. Higher Ground is an extremely balanced and concise release. It truly delivers impressive rock tracks that combine grunge with elements of shoegaze. The tracks mix chaos with a high degree of polish and professionalism. Great EP.

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I’m sure you’re wondering: who releases a double album in this day and age? The last time I was aware of any kind of double album was Michael Jackson’s double album release with HIStory. Here’s a little scene to help illustrate their intent:

“Is it too late to talk you out of a double?” asked the owner of one of Castlemaine’s finest music venues, worried that in the age of digitally diminished attention spans…“Nobody has the brain space for a double”, to which Castlemaine resident, and Mighty Horse singer/songwriter Tony Jackson dusted down his velvet smoking jacket and proclaimed “we are the f#%king resistance!” True story, except for maybe the velvet smoking jacket.
Rewind to January 2020, Mighty Horse are about to enter the studio to record their 2nd LP when the big C virus shuts down the planet. Fast forward a few years and as the world is released bleary eyed from its prison cell Mighty Horse are faced with an existential crisis. Forced entrapment has produced another swag of songs and now they have two albums to record. “How many times in one lifetime will you have the chance to make a double LP?” questioned a wise voice from the sidelines… “Good point that, let’s get to it!”

Road Movie Dream was also recorded live at Soundpark Studios in Northcote Melbourne, with overdubs and production trickery added at the band’s own studio in Castlemaine. Much like their intimate and explosive live performances, the album is a diverse journey held together by distinctive energy and chutzpah.

Let’s get into the album!

Upon listening to the first half of the album, I can’t help but synthesize this release as the culmination of a lot of alternative rock acts from the early to mid 2000s. The mastering is extremely crisp, but the genres that float throughout this act do not necessarily deviate from musical genres that already exist, facing me with a slight crisis as I don’t think it has enough musical variability. However, I admit that’s just my personal bias. I think the excitability factor will definitely resonate with a lot of people who need music simply to let loose and catch a vibe with others.

There’s fragments of all known rock genres littered throughout the composition of all of these songs, with certain bass clips analogous to 80s rock, some melodic quirks will also remind you of the grungy-kinderwhore aesthetic, and in that sense, it gives the listener a bit of an exciting game to play while listening to this.

In the middle of the album, there’s a switch to dub, which is interesting, but to my ears, it isn’t that revolutionary. I think the gist and marketing arc of this release deals with the INTERSECTION of multiple genres, and I have to commend the artist(s) for executing this perfectly with no real offense, but I don’t particularly hear any compositional innovation to necessarily wow me. Perhaps my standards are a bit too picky, and I acknowledge that while still acknowledging the band’s competency.

If this band wants to stand out, I definitely do recommend employing different quirks that don’t make their music necessarily pigeonholed to a particular aesthetic or varying things like time signatures and grooves. It’s good music, but to my ears and relative to the scope of music out there, it doesn’t necessarily stick out.

However, if you’re simply looking for music that helps you to connect with a variety of stories and emotional troughs while retaining an essence of edge and folkish roots to it, I think this is definitely the album for you. It has tenderness and ferocity mixed into one, a great trait for alternative music acts to display. There is also a lot of competency within the individual instrumentalists, and you can hear that within the solos of each songs and how the instruments blend well with each other- that is the strength of this album.

SCORE/Excellent: Even though I’ve elaborated a lot on the predictability of this release, I still think that ROAD MOVIE DREAM is a wonderfully passionate album that strives to stand out with quality rather than its unique qualities. It has an appeal to people who are definitely looking for alternative/rock music with more safe yet eclectic qualities.

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Many who already know MAN WITH A MISSION, a rock band formed in 2010 in Shibuya, Japan, are likely to merely characterise them by their eccentric look; all five members donning wolf masks to disguise their real identities and play into the band’s colourful backstory. While their unconventional appearance has no doubt contributed to a great amount of publicity and interest throughout the band’s career, the band’s music catalogue is even more enthralling.

Combining nu-metal and dance-pop to create a playful yet adrenaline-fuelled listening experience, the band sound both self-assured and more creative than ever on their ‘XV e.p.’ which contains four new songs followed by eight live recordings of some of their greatest hits from their 2024 North American tour ‘Kizuna no Kiseki’ in Mexico.

The E.P opens with the first of the band’s new offerings – ‘Vertigo’. Beginning with a pronounced drum beat paired with punchy guitars, the song instantly captures listeners’ attention with its grandiose introduction and promise of another high-energy MWAM banger. Alongside the song’s pounding beat, singer and guitarist Jean-Ken Johnny begins his signature rap, which is delivered with all of the bravado and cynicism that the vocalist is known to unleash within the band’s most upbeat and attitude-filled tracks. Throughout his swaggering verse, Johnny tears apart the greed of modern people “Go for whatever, lust for the better, We’re all so goddamn hypnotised”, which is only intensified by his razor sharp delivery and sardonic tone.

After a hook-filled pre-chorus, ‘Vertigo’s chorus thunders in on a wave of sound that only MWAM could make sound so charmingly joyous. The deep and husky tone of main vocalist Tokyo Tanaka melding with Johnny’s melodious vocal calls is one of the biggest draws to what make the band’s choruses resonantly powerful and emotionally soulful, and ‘Vertigo’ again takes full advantage of this. Johnny’s rhythmical rap verse immediately after this highlights MWAM’s far-reaching appeal to audiences through their experimentation with genre and their ability to capture the hearts of Japanese and international listeners alike with their bilingual music catalogue.

The second track is ‘Circles’, which encapsulates an entirely different sound from the E.P’s opening track. Starting with a more contained, guitar-led intro, the song is kicked off with Johnny examining the hardships and doubts that we must face in life and ultimately overcome (“Every history and your life is made, Proven and told by your scars and blisters”). The slow-burn build-up of the track through the verses effectively allow for the sentiment within the lyrics to take centre stage, while being passionately delivered by the band’s vocalists. Therefore, the chorus feels undeniably nostalgic and ever more heartwarming sung by this ensemble of soulful voices. Tanaka ultimately reassures listeners that the future is surely bright for those willing to fight for it (“Fear no more nor lament, your life is beautiful”).

The following track, ‘Reaching For The Sky’, which was initially released as a single in January 2025, seems to combine the emotional nuances from both previous tracks on the album while strengthening the song’s drive in a hard-rock arrangement with a hard-hitting lyrical message. Utilising their trademark mixed Japanese and English lyrics, ‘Reaching For The Sky’ is uplifting in the extreme; from the optimistic declarations to live freely and without regrets, to the surprise tempo change-up and breakdown at the end of the track.

The experimental soft-rock ‘Whispers Of The Fake’ will feel for many loyal listeners of the band like an unexpected shift in musical style. Starting off with Tanaka’s unmistakably rich vocal tone over an acoustic guitar backing, the song soon transitions to an irrepressible ear-worm chorus melody, where Johnny and Tanaka smoothly harmonise over a country-esque arrangement. It’s certainly not what fans may be used to, but MWAM easily manage to make this track just as enchanting as any of their hard-rock hits.

The eight live tracks consist of a range of new and old anthems, feverishly backed by the frenzied screams of their live audience. There is one particular stand-out though in the form of ‘Blaze’, which is featured for the very first time as an acoustic version. Originally a powerful rock jam off of 2022’s ‘Break and Cross The Walls II’, the track is toned down to a breathtaking solo stage with Johnny’s sonorous vocals echoing out a passionate tale of determination and inner strength. If this doesn’t tempt you to catch one of their incredible live shows, nothing will.

Score/Outstanding: It feels as if 15 years have blurred by for the fans and for the band, but the ‘XV e.p.’ shows that the quality of MWAM’s music has definitely not diminished, but has rather become more exceptional as the years go by. Here’s to another fifteen years.

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So let’s have a listen …

The first track is title cut Back into the River and nicely sets the pallet for this tasty new release. Very Soundgarden influenced. The voice nails it. Everything is in its place and interesting chord changes. I love the acoustic guitar break in the middle of the song. This is the best song on this EP.

The second track Hell of a Lie is the EP’s single. Has a very in-your-face lead guitar riff. Loving the lead guitar solo 2/3 of the way through the song, particularly as the chord progression in the bridge changes, then back into the chorus. Very nice. Still, I think the first song might make a better single.

In the Middle of Two Worlds has a pulsating rhythmic feel, accentuated by the hard eighth note drum beat in sync with the bass and rhythm guitars. Interesting chord changes in this song. The song fades away at the end.

Wake Up, the fourth track, starts off with a funky acoustic guitar then is immediately joined by the rest of the band. I would have preferred the acoustic guitar riff to get more sunlight at the beginning of the song. You can still hear it in the mix, but a bit drowned by the other instruments. The chorus hits at about 1:40 reminding us all to “wake up.” I’m really enjoying the female vocalist singing background vocals in this track. Very epic!

Back into the River II (Alternate Version). This version focuses on the acoustic rhythm guitar. You can hear the vocals better in this version, though I really liked the first version. More of a songwriter’s version. Still a great song. Digging the lead guitar solo on this version and the brain-challenging complex chord progressions and arrangement in this song.

This EP features an impressive lineup of musicians on select tracks:
“Jon Button on bass (Sheryl Crow, The Who), Nik Hughes on drums (Bush), Mike Smith on drums (Chayce Beckhamm, Trapt, Tantric), and Lea Cappelli on vocals (L’FREAQ). The first single, “Hell of a Lie,” was also mixed by legendary producer Gordie Johnson (Big Sugar, Grady).”

SCORE/Excellent: The songwriting and song arrangements on this EP are top-notch. Excellent production and musical performances! I really love the title cut and think it should be its own single. If you like the grungy sound of the early 2000s, get this EP and see if you agree! Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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This blend of aggression and experimental notes throughout the record truly solidifies 3peaceX’s next chapter as their signature piece.

From the first seconds, you are introduced to a bold, right-to-your-face sound—a clear declaration: “Hey, we are here.” Aggressive riffs, heavy bass, and pounding drums combine to create the sensation of an impending revolution, offering just a taste of the ferocious yet hazy atmosphere that defines the record.

While the band is known for their aggressive delivery on Plain Ol’ Hot Sauce, they also venture into a more industrial territory, infusing the record with a hypnotic feel. At first glance, their sound remotely reminds me of Green Day, thanks to full yet unhinged delivery at moments.

3peaceX isn’t just here to unleash anarchism with raw madness; they bring a dynamic, vibrant energy that wakes you up and shakes you down with urgent, captivating instrumentals. I also appreciate how they create a smooth album experience from track to track, with seamless transitions that rarely draw attention.

However, it’s worth noting that while the band’s delivery can remind you of aggressive journalists exposing a celebrity, they also explore slower material as the record progresses. A track like “Not All The Love” fuses searing anger with a soft, lush finish. Meanwhile, high-energy bangers like “Pandora” immediately define 3peaceX’s sound and stand out as the album’s strongest moments.

The sound on these frenetic tracks is the band’s unique element, doubled down on, especially in the first half of the album. With palpable, textural beats on “Easy Wind,” the band confidently establishes their identity.

While the fast-paced, vicious tracks are memorable, songs like “This Heart” also strike a chord. They represent a slight deviation from the all-over-the-place sound while maintaining enough industrial experimentation to keep things interesting.

Despite the album’s extensive runtime of just over an hour, 3peaceX delivers a solid listening experience—ranging from hard-hitting tracks to more slow-paced, yet still industrial, compositions. This mix on Plain Ol’ Hot Sauce gives the record a fresh, memorable aftertaste.

SCORE/Excellent: The band sticks to their promise and delivers exactly what they intended: an energetic, memorable, and psychotic album that feels true to its core. 3peaceX focuses not just on raw anger, but also on an intelligent exploration of uncertainty and chaos that sets your emotions free.

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It should be noted that Alpha Sub has a popular slang meaning typically referring to an “alpha submissive female”, defined as a person that rejects popular opinion, yet is not afraid to assert her needs and desires. She finds happiness in submission, but only when done on her terms. “This form of submission is not about giving up control, but rather about willingly choosing when and where to relinquish it.” So basically, a rebel. Which is, of course, very punk. To rebel against society’s norms. Fuck the man!

From the band’s bio: “Alpha Sub started at the bottom and stayed there. Incorporating themes of economic disparity, conformity to religion, and general disdain for the ruling class, Alpha Sub is like a skater who found an issue of The Atlantic and a thesaurus at the skatepark. If you want a pop-punk anthem, harmonized shredding, or just some good punk rock, all with high-energy vocals that simultaneously make you think and spit out your drink, Alpha Sub’s self-titled debut album is for you.” Interesting.

So let’s have a listen …

The first song on the album is Alpha Sub, by the band Alpha Sub, on the album Alpha Sub. A quick one at only 1:18. Very punk way to kick off. “Try as you might you’ll never get above, you’re just the Alpha Sub!” Very punk. A reason to rebel. I really like the fast punk riff the band plays on this song. Catchy!

Two Handed Piss is about this size of his … well, you get the picture. Clever lyrics. Reminds me of early KISS. Complete with Ace’s solo.

Stepdad Goatee, another song about sex. She’s in the market for a “Stepdad Goatee.” Very punk vocal delivery. Very punk sound. I like the lead guitar in punk music. A lot of punksters leave it out, they shouldn’t.

Nobody is a great song. Very catchy right from the start. Great riff! Loving the bridge, and the intentional slow down, that goes into ghost vocals with the chorus hook, and quickly finds it’s way back into the main riff. Great writing, this tune. I love the vocal echo at the end of the song. Well done!

Fuck the Police! Very punk. Not digging the song as much though. An album cut. But you’ve got to give the band props for naming this song!

Proud Boy Buffet. It’s a very political message. Nice punk riff underneath. Straightforward lead guitar lines. A pacifist’s anthem.

Peaked in High School is about a girl who peaked early in her career. This tune reminds me a lot of Green Day, definitely the same energy and song structure. The lyrics are sort of funny, and rebellious. Love the “na, na, na na, na na na” followed by a fiery lead guitar solo to close out the song!

Loving the riff that kicks off Downhill Battle. Green Day with Black Flag. The lead guitar performance in this song is top-notch. Very well done. The bridge is interesting and kicks into a very energetic pre-chorus and chorus.

Soapbox starts out with a Ramone’s style mid-tempo riff. Very Ramones. Except the lead guitar solo is very melodic. The song envisions “A part-time revolutionary” on his/her “social media soapbox.”

Agenda has a very country-punk feel to it. Very tight guitar riffage. Sounds like Charlie Daniels fiddle, but being played on the lead guitar. Loving the riff. “Fuck!” A song about indoctrination of the news media. Very punk!

No Friends. Satirical. I’ve got no friends, I’ll be just fine. Starts off campy. But quickly gets into the punk. Reminds me of the Sex Pistols. Funny!

SCORE/Outstanding: Well, there you have it. This punk record is outstanding! If you love punk, you’ll love this album. The vocalist has got a really nice voice for this genre of power punk, very Billie Joe Armstrong. The songs are all interesting and I love the incorporation of a lot of very tasty lead guitar licks on this record. I can see why Philly loves this band! I do too. Much love, Beth

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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The first track on the album is the title cut De-Evolution starts with a Doom power chord, slow chord riff. Very doom vocals kick in – hard to hear the words against the heavy mix of guitars. Trailing lead guitar riffs take us into another slow bridge. The vocals sound like they fit the mix though. I like how the chord riff climbs up the scale. If you’re into this genre, you’ll dig it.

The next song The Fall starts off with a very nice alternative rock riff, much faster tempo over the powerful fast single note riff. I like it. Still doom metal in its essence. I like the arrangement of the bridge, devilish vocal rages litter the soundscape. I really like the guitar playing on this song, lots of great single note lines. It’s a bit of a long song, clocking in at 07:09.

The next song Lies starts with a slow arpeggiated guitar riff. Nice chord progression. I keep wanting this song to take off. Do wish the artist would post the lyrics as they’re a bit hard to understand against the mix. I overall like the sound of this track. Not sure about the bridge, but I like how things devolve into a heavy droning power chord and then back into the main riff. The sound of the rhythm guitar power surge towards the end is epic!

The final track is called For Ever and starts with a nice arpeggiated riff, then into heavy power chords. I like the repeating lead guitar vibes in the middle of the song. The changes are very doom metal, nice. This track is mixed like most songs in this genre, though I would mix the vocals louder, especially if the lyrics are important to the listener. I would like to know.

SCORE/Excellent: I’m going to go ahead and rate this as Excellent, even though I couldn’t really understand the lyrics. It’s mixed perfectly for this Doom genre and the guitar playing is really excellent. The album musically flows like a raging river, full of heartfelt emotions. The vocals match the power and aggression of the heavy guitar riffs. If you’re into to Doom Metal, I would definitely check out this new EP.  Much love, Beth

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Glass Lungs, at its core, has a passion for creating a sound that “defies conventional boundaries”, mixing “dreamy and ethereal” shoegaze textures with a “colossal assault of doom metal.” The duality created by this mix of sounds and genres plays a role in the band’s lyrics: “Duality is at the foundation of the band’s exploration into themes of mythology and truth, loss and healing and the fragile path between hope and despair.”

Well, this should be interesting!

So let’s have a listen …

The song starts of with a cascading waterfall of notes, then falls into a heavy doom and dreamy chord progression. Soon the vocals join in, floating near the top of the mix. There’s a dead stop in the middle of the song which opens up into a colossal assault of textures. “It’s the strangest feeling”. I like the dreamy reverb and delay laden lead guitar riffs.

The vocals are nice, but not my favorite part of the song. Feels like I’ve heard this type of voice before from better singers. This song is 6:41 in length. Feels like the song should have ended around the 4:30 mark. Around 5:00 there’s another soft stop with vocals and a dreamy heavily-reverbed guitar.

Honestly, I wish the vocals had been more present in the mix. It was hard to understand the lyrics, it’s like getting brief glimpses of lyrics among the heavy dreamy mix of the instruments. It’s a nice sound overall, though.

SCORE/Good: Glass Lungs delivers a heavy dreamy mix of shoe gaze blended with heavy dark power chords. The song hits your eardrums immediately out of the box. I do wish the vocals were more present, but overall the sound is massive. Would love to see these guys live! Much love, Beth

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As the band states on Bandcamp: “It was a cold and rainy November night when Greg Roensch, Jules Leyhe, and Elisa Wendell performed two sets of original music (plus a handful of covers) at Tiny Telephone recording studio in Oakland, California. Here’s your chance to listen to a show that audience members referred to as magical, unique, and fun – which is exactly what you’d expect when entering a rock-n-roll oasis. Welcome in.Feel free to listen for free, but please note I’m donating 100% of my proceeds from all sales in February 2025 to MusiCares for fire relief support for music professionals impacted by the Los Angeles wildfires.”

So let’s have a listen … and buy the album to support the fire relief fund!

The album starts with The Dream with a heavily reverb-drenched electric guitar joined shortly thereafter by a rhythmic acoustic guitar. Rock and Roll Oasis is the first vocal track with Greg and Elisa joining together – their voices blend well. The star of the track, however, is Jules’ lead electric guitar work. Greg has a voice that reminds me a little of Tom Waits.  Nice track. [Author’s Note: After finishing the review, I finally figured out who Greg’s voice reminds me of … and it’s Gordon Lightfoot.]

The third track Come On Over (and I’ll cook some chicken). I love the lyrics on this one. However, the lead guitar again steals the show. The next song, the David Byrne cover “Heaven” starts with a beautiful acoustic guitar strum. About a bar named Heaven. “Heaven is a place where nothing ever happens.” The group’s performance reminds me of acoustic Neil Young.

“Get the fuck out of my kitchen!” is how the next song introduces itself with Elisa taking the lead vocals. She has quite an engagingly sweet voice. Best song on the album so far. The song immediately captures your attention with a nice vocal rhythm and an engaging vocal rap delivery.

I’m Eating In My Car Again is the next song on the album. I probably would have left this song off the album. Very hard sonic transition from My Kitchen (above) to this song which is more in the red-dirt country folk vein. Have You Seen the Loveliness follows up in the same musical genre. I like the reference to Pinball Wizard. It’s a bit more interesting than Eating in My Car Again. I’m not really digging the lyrics. The lyric rhymes seem overly simplistic. Nice lead guitar work though.

The next song Grasshopper starts off with a nice arpeggiated acoustic guitar. This song is a vocal duet featuring Greg and Elisa. The lead guitar is drenched in reverb. This is a nice song. “Grasshopper, hop along …” Elisa’s voice really makes the song.

Nobody But You is a common folk chord progression and sounds like countless other folk tunes. A very Neil Young/John Prine type vibe. The electric guitar literally sings in this tune, sounds like a lap steel guitar, very cool. Nobody listens … Nobody But You. Clever lyrical structure here.

The next song Magnolia is a JJ Cale cover. Greg’s voice does not quite have the character of Neil Young or JJ Cale, but with it’s raspy nature, falls in that same category. I like Elisa’s “whoo, oooh” vocals later in the track.

Elisa’s song Pay Attention 2 Me is a killer jazz vamp with Elisa’s vocal timing stealing the show. She definitely needs to be singing lead more. This song is sonically interesting and I particularly like her jazz vocal off-beat timing. The lead electric guitar competes for audience attention. I feel like I’m in a movie theatre watching Jessica Rabbit. LOL. Very nice tune.

The next song E is for Elephant is another campy track in the folk-style of Eating in my Car Again and Have You Seen the Loveliness. This one has audience participation answering back in the chorus “E is for Elephant.” I really enjoyed the country-style lead guitar work on this tune. A Blackbird Flies starts off much more somber with an arpeggiated acoustic guitar against the singing electric lead guitar, maybe a lap-steel guitar. “Give peace a chance, children are dying.” A song about war and peace. Very Tolstoy. The lead guitar steals the show on this tune. Very nice picking.

The next song You Never Know features the lead electric guitar sailing through the verse, again a slide or lap steel guitar sound. I like the lyrics on this song. Has a Tom Waits edge to it. I love the lead guitarist’s tone here.

Next up is a Neil Young cover Cortez the Killer. One of my favorite songs. The two guitarists blend their parts really nicely during the long intro in this song. If you can imagine Tom Waits singing a Neil Young song? This is it. The lead guitar work in this song is exceptional, as it has been the whole album.

The sixteenth song on the album is The Last Day of Our Acquaintance, a Sinead O’Connor cover. Very somber beginning. Getting church vibes from the instrumentation – the arpeggiated acoustic guitar, the very atmospheric electric lead guitar soundscape, and the ethereal blend of Greg and Elisa’s vocals.

The Dream Returns is a sequel revisiting the opening track. Same song, different version. I like Elisa’s ethereal backing vocals on this track. The album finishes off with the original tune I Heard the News. A nice acoustic guitar riff opens the song, with a singing slide or lap-steel guitar. I really like it when both Greg and Elisa are singing together, very nice vocal blend.

This album is a very nice live performance. And I’m impressed that it sounds so good, with no mistakes from the band, and the engineering, mixing, and mastering make you feel like you’re in the room with the band. My favorite two songs are both Elisa’s originals, which I can hear on radio. Perhaps the band can release clean radio edit versions of both her songs?

SCORE/Excellent: Hats off to Jules Leyhe! The lead guitar work on this album is exceptional. Just the right atmospheric sounds. And I also really dug Elisa’s vocals on the album, particularly on her two original songs. Even though there’s a song or two that maybe should have been left on the cutting room floor, the lead guitar work and Elisa’s ethereal and jazzy vocals sell me on this album. They’ll sell you on it too. Take a chance and listen to this unique, inspiring, live album! Much love, Beth

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