Occasionally a record comes along that immediately stops you in your tracks. Such is the case with the newest full-length from Zook, entitled Vases. The record opens with a minute long stretch of strings atop a brushed drum beat and a gentle rattling that gives way to Zook’s vocal observations – a magically delivered vibe that simultaneously straddles melancholy and optimism. Vases consistently blends together unique instrumentation throughout its runtime, making fascinating choices that never feel alien or challenging, just refreshingly effective.

For the uninitiated, album closer “Evergreen” is possibly the best place to start. Backmasked guitars warp their way into a gentle piano line before baritone vocals carry you into an unforgettably bouncy chorus. There’s a dash of jam band to the bridge and a psychedelic zone-out to the ending sprawl (remember, it is the album closer) but it’s every ounce a pop song. That blend shouldn’t work but Zook’s balanced choices become the emblematic magic of Vases. “Marmalade” presents twinkling flourishes from another planet before erupting with guitar licks Wilco would awe for. “New Jersey Frown” bounces along with horns and multitudes of layered details I haven’t even begun to fully catalog. Even with the album’s most barebones offering, “Seashell 17,” there’s a wash of subtle autoharp and electronic swirls behind Zook’s front and center vocals. Every song on the record deserves repeated, active, listening but are just as enjoyable playing in the background; familiar yet new.

Zook, aka Zach Tittel, has long been part of a scene of musicians in Nashville that helped to form this fascinating stew of sounds. Thomas Luminoso is credited as co-producer, Ash and Luca of Total Wife are thanked for recording assistance and the Zook live band has Rig B, Logan Chung and Rowen Merrill – all extremely talented folks in their own realms. None of that is to insinuate that Vases is not entirely Tittel’s creation, I’m sure he has labored over it for years. However, everyone is an expression of their experienced lives and Tittel is experiencing life with a great number of talented and interesting people. His ability to synthesize all of his influences and all of his original creativity into a fully formed record that never feels off balance is certainly worth stopping in your tracks for.

Listening to, “Eyes on You“, the latest single from Vera Bloom, it becomes abundantly clear that whatever recipe was used to concoct this song, it’s the one that should be embraced moving forward. The track takes a subtle turn from summer pop song into full fledged rock explosion without missing a beat – to call it “unfurling” would be doing it an injustice. At it’s apex of intensity, Bloom’s vocal delivery has the familiar snarl of Heart or Joan Jett. If that sounds like a lazy comparison, just listen to the actual track, she’s soaring.

The catalog of Bloom’s releases have all been quality but this one is the most anthemic. This one you’re going to grip a tight fist in solidarity. You’re going to see it live and scream along. You’re going to pay attention and put this in your Best of Summer rotation, without hesitation.

On the surface, “Always” is a pained tale of loss and rejection. Songs of Llore, aka Amanda Collins, sings “You said you loved me / Wanted to be by my side / But you lied” over top of lush, contemplative, ethereal arrangements. It’s a painful and familiar feeling expressed with quiet grace and a little defeat… but then there’s an absolutely triumphant turn. “Always” unfurls into a shoegaze influenced declaration of power:

I don’t need a man
To tell me who the fuck i am.
I am always gonna be me
And I don’t care if you don’t see.

The track is taken from a forthcoming Fall 2023 release entitled Late Bloomer that we can only hope contains more impressively self-empowered mantras.

Synthesis is hard. An artist will inevitably be influenced by the music they consume; from how to layer harmonies or how to intensify feedback, Everything is a Remix. The real trick is to take those influences and synthesize them into something new. With Easily Excited!, the debut from Thee Kave Crickets, there’s an instantly recognizable vibe to the work being presented but it’s not a derivative pastiche of sounds. Tracks like “Too Much Love” feel reminiscent of the Elephant 6 collective, title track “Easily Excited” has a Ominous 60’s Jangle and “One That Stays” is 80s Sax Powerballad through a Phil Spector lens. And therein lies the appeal of Thee Kave Crickets; you can pluck familiar and comfortable references for each of these tracks but none of them fit nicely into a mold for any one specific things. They’ve managed to find the right balance of each of ingredient in their particular recipe for a rather tasty treat; aurally speaking. Easily Excited! is a delightful romp, a grinning dance party and freshly familiar good time. Hard to ask for more than that.

During Record Store 2023, I had the great pleasure of seeing Love Montage perform on the indoor stage of Vinyl Tap. Lyrically, his music has always touched on relationships, love and sex; delivered with an optimistic shine. Seeing them live, it all burst forth with even more exuberance. The band was full of legitimate swagger and brought a full-on good time with them. With that context, the latest single Inglewood Shandy is ratcheted up a notch. It’s already a shiny slice of summer on its own but imagining a band of beaming smiles delivering it makes it that much more endearing.

Cloudmouth has always been an interesting band. For evidence of this bold claim, watch their “Drunk on What” and “Nice Looking Mountain” videos – both different styles visually and aurally but nonetheless gripping. By my count, they have not received the recognition they deserve for their unique combination of styles, songwriting, delivery and presentation.

However, with “Take Me To a Lake,” it’s possible that may change. The first single from the band’s forthcoming new album has a decidedly new spirit to it. The underlying rock band is still there but something more grandiose, more space-y and more free flowing emerges about 90 seconds in. It sprawls out into the void before returning into an explosive rumination that loops right back into the sprawl. It’s a cyclical treat that ebbs and flows like waves on the shore.

Hopefully more to hear soon because this is an incredibly promising first listen from a band that was already worth knowing.