Sometimes analogies fail. I spent a good 20 minutes staring at the screen, trying to conjure up some way to impart to you the whole “meh”-ness of Dutch jazz-rock outfit Crypto and their one-and-done, self-titled album Crypto. Not every hidden gem is indeed a gem, but that doesn’t mean it’s not shiny and maybe worth a few bits on the open market.
Continue reading “Crypto: Crypto (1974)”
Hope everyone out there is having a good holiday if you celebrate, or just a good day if you don’t. On the music front, I received some lovely gifts from family, including a few killer records and the complete recording of Henry Cow I’ll eventually get to. Nothing from 2025, though (are you surprised?) so as I kick back post-Christmas with a cup of coffee, let’s talk jazz fusion. Since seeing the sublime ridiculousness of the cover art, I’ve been hooked on Nankai Trio and their debut Antarctica. The Japanese trio take the technical virtuosity of classic fusion groups like Return to Forever and inject some modern shred into their songs, and the result is one of the most enjoyable, exciting albums I’ve heard this year.
Continue reading “Nankai TRIO: Antarctica (2025)”
Similar to my last review, the where’s and how’s of my discovering the indelible virtuosity of jazz pianist Hiromi are lost to the fog of age (and probably weed, who are we kidding?). Maybe it was during my heady exploration of the fusion and jazz rock coming out of Japan in the ’70s, but however the path was laid, I’m so glad it led me to Out There, her latest album and collaboration with her full band unit Sonicwonder. It’s a heady mix of styles, exuberant and joyful and packing so much excellence in the performance aspect once I put it on, it’s hard not to let it replay over and over again.
Continue reading “Hiromi: Out There (2025)”
I can’t remember for the life of me where or how I discovered Star Period Star. Or how I wound up with the CD of their fifth studio album, Twilight Saving Time. Maybe it was Sea of Tranquility reviewing it on their YouTube channel; maybe it was elsewhere. And maybe it was a case of the difference in price between the digital download and the CD justified retaking the plunge and grabbing a CD. Whatever the reason, grab it I did, listened once, and promptly forgot about it in the rushing onslaught of releases and reissues. This morning I brewed some piping hot coffee and did some dedicated listening. Good stuff, modern and poppy with hints of ’70s vintage and ’80s neo prog that despite some small reservations works as a fun diversion from the same old bands doing the same old thing.
Continue reading “Star Period Star: Twilight Saving Time (2025)”
Like I said, I came to Moon Letters not via their debut, but from their most recent album. This Dark Earth is album #3 (their sophomore effort Thank You From The Future remains unheard…at least until the vinyl arrives), and it doubles down on the instrumental wizardry and lush vocal lines. But it also moves away from the analog, 70s vintage sounds for something more modern, taking influences from 80s rock and metal to hone in on and craft their own identity. The growth over six years is evident, with disparate sections of songs coalescing better as the songwriting gets more concise. Nothing is lost, much is gained, and it continues to surprise me with each listen.
Continue reading “Moon Letters: This Dark Earth (2025)”
When it comes debuts, I like to come in with a different set of expectations, especially if I’m coming to it after already heard later releases. Such is the case with Moon Letters, a Seattle, WA band whose debut Until They Feel The Sun wears its influences so clearly on its sleeve there are moments when I chuckle. But it’s exuberant, and to my ears comes not from calculation but from the rush of joy that comes from making something that speaks to that inner voice, the one that prompted the picking up of an instrument in the first place.
Continue reading “Moon Letters: Until They Feel The Sun (2019)”
Consuming the Tangible 