Back in 2017, Eve Maret released “No More Running,” a dark synth-y exploration soaked on vocoder and eventually backed by an EP of the same name that broadened the palette into hypnotizing dance-able territory. With the release of Stars Aligned, Maret has expanded that palette once again into something brighter, more optimistic and every bit as transfixing.

Tracks like “Satisfaction”, “Synthesizer Hearts”, “Do My Thing” and the titular “Stars Aligned” are absolutely brimming with airy synth and programmed beats that evoke intense positivity. The album’s epic opus, “Impressions”, clocks in at nearly 11 minutes and spends a lot of its time as a meditative, ambient, undertaking before unfurling into a soaring guitar escapade that feels akin to the most classic moments of Pink Floyd (delivered by Nashville’s own Sean Thompson). “Bury the Dream” treads in familiar darker territory with a twinge of glitch and album closer “Forgotten Ways” is heartbreakingly lonesome.

In the press release for Stars Aligned, Maret says “My personal experience of grief, love, disappointment, joy, and heartbreak made this album what it is.” A start to finish listen to the record certainly has its up and downs; truly a reflection of the human experience as Maret notes. While previous works were also, likely, reflections of these experiences, Stars Aligned showcases an artist that has honed and refined their ability to express those emotions more clearly while embracing new instrumentation and styles.

The expectations for Stars Aligned was high and Maret did not deliver an ounce of disappointment. A stellar record all around and absolutely an artist to stay mindful of. You can pick up a vinyl copy of the record on Bandcamp or stream it everywhere.

Spencer Cullum has released work in the duo Steelism, can be spotted backing up Miranda Lambert and has guest appearances on a ton of albums. The release of Spencer Cullum’s Coin Collection is his debut solo undertaking but he isn’t going it alone. With his wealth of experience he was able to invite a slew of talented friends including Caitlin Rose, Erin Rae, Jordan Lehning, Herman Dune, Annie Williams, Sean Thompson and a litany of others too long to put in one readable sentence.

The record pays homage to psychedelic folk; a sound established in the 60s and 70s by artists like Kevin Ayers, Robert Wyatt and Fairport Convention; a delicate balance between tender songwriting and psychedelic soundscapes. Tracks like “Imminent Shadow” and “To Be Blinkered” lean more into the folk side, with layers of instrumentation lightly making their presence known against hushed vocals. For the more psychedelic, “Jack of Fools” and “Tombre En Morceaux” up the ante by providing more upbeat tempos and continuously growing layers; with “Dieterich Buxtehude” serving as the pinnacle of psych, going full on krautrock across a near 9-minute runtime. From top to bottom, the album balances these moments of introspection and zoning out without ever missing a step of continuity between tracks. One moment you’re hearing gentle chirping birds and another you’re staring into the void; without ever feeling the least bit jarred.

Cullum originally hails from London and received his pedal steel training from B.J. Cole; a legendary musician that’s worked with the likes of Elton John, Bjork, Beck and John Cale. Like Cole, Cullum’s work with the instrument was never specifically geared towards one genre and Spencer Cullum’s Coin Collection deftly expands Cullum’s palette beyond being just a pedal steel player. The album is a nod to the past that masterfully blends influences, beautifully leverages collaborators and promises there’s plenty more tricks up Cullum’s sleeve.

Across multiple conversations I’ve had with music journalist Lance Conzett, it has been discussed that Rock music has lost its cultural significance over the past two decades. In 2020, genres hardly matter anymore but looking back at the past two decades, it’s clear that Hip-Hop, R&B, Pop and, to some extent, Country have outranked good ole Rock n’ Roll in terms of the cultural zeitgeist. That sentiment is, by no means, a bad thing. Nor does it mean that there aren’t plenty of great Rock records being churned out every day; it’s just a contextual consideration when consider the success of Creature Comfort’s full-length Home Team.

Making a Rock Record in 2020 comes with the decades of baggage filled with male bravado, chauvinism and a generally “ugh” feeling about the “rock and roll lifestyle.” Ask someone to name three huge rock bands and they’ll likely reply with the likes of Led Zeppelin, AC/DC, Aerosmith or a long list of artists that come with more horrible stories of sexual exploitation and debauchery than anyone should feel comfortable with. Creature Comfort’s Home Team shakes off all of that dirt and serves up an album that is infectiously memorable, filled with soaring moments and soaking in optimism.

“Black Cat” is a particularly stand-out example of this feeling as the track layers on guitars below a chorus of layered sing-along harmonies, creating an uplifting feeling that is damn near euphoria. “Single Soul”, “Arcade Fire”* and “Candle” follow this model and manage to successfully sound unique on each track while still forcing an uncontrollable smile while listening. One can easily imagine being pressed in a crowd watching the band perform these songs with Good Vibes pouring out of everyone around you (in a pre-COVID world of course).

There are many variations on “Rock” – the dark psychedelic work of a Tame Impala, the bouncy noodle-y work of Phish and their ilk or even the twisted sneer of Ween – but Creature Comfort’s Home Team is a much more accessible piece of work. It’s nuanced and wildly creative in the instrumentation they choose to leave but balanced in a way that you couldn’t put it in some niche categorization.

After months of promo for the record (six preview singles!), the album is now streaming everywhere and available on Bandcamp if you’d like to support them directly. With Home Team, Creature Comfort proves that rock and roll has plenty of quality left to offer.

* While reviewing this, it dawned on me that Arcade Fire (the band) has a song called “Creature Comfort” and now Creature Comfort (the band) has a song called “Arcade Fire.” Just an bit of clever enjoyment there.

Back in late summer, Fu Stan released Lockdown, a nine track album comprised of songs conceived during, and speaking to, the quarantine. The title track is a thesis statement for the the release but the additional eight tracks on the record should not be missed.

“Numb” is the latest track to get featured on the record along with a rather impressive official video. The hazy gathering of party goers surrounding a police cruiser harkens back to the events of the summer when protests (understandably) came to a boil. It also feels like a nod to NWA-era hip-hop videos in which (understandable) outrage with police brutality were front and center.

Based on what I can discern from the breakneck speed verses, the track isn’t necessarily speaking to the Black Lives Matter movement but the visuals certainly evoke that feeling of triumph of people of color over police. It’s open to interpretation but it strikes me as more than just an outdoor performance video and more of a culmination of a myriad of scenarios that cause you to feel numb; which results in doing something rather than nothing.