Dale Hollow is a bit of an enigma. At a quick glance, he cites that Rolling Stone Country called him “Relentlessly Entertaining” (they did), his album covers feature him in western shirts and yellow aviators and he’s given himself the moniker “The Country Music Superstar”; assumed emphasis on The. If you didn’t know better, Dale Hollow is your typical songwriter looking to make it in Music City through sheer bravado. But that’s only at a glance.

Back in 2017, Dale Hollow released the EP Fast Cash Now, Break Hearts Later and recently unearthed the video for the lead track “Dreamboat Babe.” The conceit of the video is that Hollow was looking to follow in the grand tradition of knocking down doors at the Grand Ole Opry but got mislead by Waze and ended up at the Opryland Hotel and Convention Center. It’s absurdity played with straight-laced perfection as he wanders the arboretum serenading the plants and tourists.

The track is a fun listen; particularly if you’re keen on paying attention to lyrics. The ballad comes across as a sweet ode but, deceptively, seems to be a plea to get out of paying a sex worker for their services. Again, Hollow never breaks and plays his request as honestly as possible.

The real trick here is that it’s entirely unclear what is authentic and what is a put on. Sure, the outfit and the lyrics are all part of a character but the song is legitimately well performed. Furthermore, Hollow probably wouldn’t mind being The Country Music Superstar if it were offered. In the words of Rolling Stone Country, it’s a “relentlessly entertaining” mixture of satire and real talent.

Watch the video all the way through for a fun treat at the end and then go listen to Hollow’s latest release Yourstruly.

Having a distinctive vocal style can be a blessing and a curse. On the one hand, you’re quite literally able to distinguish your style simply be embracing your comfort zone. On the other hand, there may be a hurdle to overcome with new listeners that have set their expectations on something more traditional. On Eight New Songs, alt-folk, bedroom DIY artist Iven finds himself straddling the line between both worlds.

The entirety of this latest release leans in hard to the vocals and lyrics from Iven, aka Isaac Q. Horton, weaving tales of unrequited relationships and hopeful optimism towards future interactions. Underlying the distinctive stories of each track there are fairly consistent references to the narrators home – be it track titles like “On This Roof”, “Dirty Room” or “Weren’t You At My House Last Week?” or lyrics referencing couches, the dangers of sidewalks or the terror of leaving someone’s bed – there seems to be a subtext of social anxiety. That’s only one possible theory but, all told, the lyrics from start to finish work to create a cohesive tale of one individual and their bouts with overcoming doubt.

Rather surprisingly, the album credits note that the release was “recorded very quickly.” Musically, the songs are delicately layered; never pushing too far into an overwhelmingly dense wall of sound but never straying into sparse territory either. The acoustic guitar, drums and keyboards all swirl behind the aforementioned distinctive vocals. “It Had You” functions as the most emphatically emotive piece of the record, as it continuously grows and unfolds into a tumultuously pained refrain.

Which brings us back to that distinctive vocal style. Iven’s vocal delivery has two primary modes; a gentle and somewhat restrained delivery and an unhinged caterwaul. The later may be the most likely to throw off new listeners but the authenticity of the emotion behind it quickly makes undeniably enjoyable. There is a true catharsis to the release for both the narrator and the listener.

When you name your album Fuck, Marry, Kill there’s an assumption that the contents within will be a continuous rip-roaring affair. In general, that’s exactly what Thelma and the Sleaze delivers on their latest full-length adorned with that eponymous title but we’ve come to expect the unexpected when it comes to anything LG Gilbert is involved with. As such, the latest single from TATS is a surprisingly gentle and introspective number.

Gilbert’s describes “Something I Can Touch” as an ode to what it’s like to “…grow-up poor and stay poor.” It’s a lament for the better life adorned with vulnerable vocals and a saxophone solo that will touch even the most hardened of souls. The video depicts a roller skater finding joy in the act of existing, before LG sets fire to a pile of cash; perhaps insinuating that the simple life ain’t all bad.

Thelma and the Sleaze is known for their raucous live performances and swaggering Southern Rock but, truth be told, Fuck, Marry, Kill contains a number of songs that show the band stretching well beyond that. “Something I Can Touch” is a great example of this and, hopefully, a reminder to give the new album a spin to see just much the band is changing in their delivery.