COLOR GREEN, FOOLS PARADE

"All of us are fans of all types of music. We like to wear our influences on our sleeves, but we try to keep our eye on timelessness and originality within the process. We try not to be too obvious about where we’re pulling from, but rather aim to pay respect to the legends that have shaped our musical taste." Corey Maden, Guitarist

On their sophomore album, Fools Parade, California-based quartet Color Green straddle '70's psychedelic and classic rock as well as '60's SoCal folk-rock and '80's underground rock to great success. As soon as I started listening to it, I felt like I was revisiting a great old album that I had forgotten about. 

But the real magic of Fools Parade lies in its ability to feel familiar without falling into nostalgia's trap. There’s a subtle edge throughout, as Color Green balances homage with some raw, contemporary energy. Sun-drenched harmonies with jangly guitars, evoking both the breezy charm of Laurel Canyon and the gritty allure of CBGB’s. It’s a love letter to rock’s golden eras for sure, but one written with fresh ink and a knowing wink, making it feel timeless yet undeniably of the moment. Perhaps someday I will forget about this album, but not anytime soon. 

GREENLEAF, THE HEAD & THE HABIT

Greenleaf, the heavy rockers from Sweden, return with a fantastic ninth album, The Head & The Habit. For almost a quarter century, the band has been offering up their '70 hard rock influenced music. And The Head & The Habit is no exception. Showcasing their confidence in how to rock stronger, harder, and with more cohesion than ever before, the Swedes melt thunderous riff-magic, enrapturing and soul-heavy vocals, frenetic rhythms and driving attacks into an ear-catching, sparkling alloy of hard rocking anthems. It's the kind of album that gets the blood pumping and is just a great ride.

THE FELICE BROTHERS, VALLEY OF ABANDONED SONGS

A few years back, Ian Felice started revisiting old demos that he said had never seen the light of day and recordings that hadn't found a home on previous albums. He started thinking of them as the Valley of Abandon Songs. Soon after, he reached out to his good friend Conor Oberst who was starting a new label and floated the idea of putting these songs together on an album and giving it this very name. 

Listening to The Felice Brothers latest album, Valley of Abandoned Songs, one would never guess that these were scrapped songs or that they were not written as a cohesive collection to be put out into the world together. These are all gems that shine and once again shine a spotlight on The Felice Brothers special indie-folk rock talents.

 

GOODBYE JUNE, DEEP IN TROUBLE

"You Know, you put a Les Paul through an old Marshall and you crank it up and you get the sound that doesn't go stale." 

Tyler Baker, lead guitarist, Goodbye June

A classic rock revival is well underway over the past few years and Goodbye June is definitely helping lead the way. Fans of nasty, dirty rock 'n'roll, the band has said that they set out to take a lot of changes and swings on their fourth album, Deep In Trouble. And boy did they. This is a highly charged album with loud guitars and a hard hitting rhythm section to match. And it just plain rocks.

THE DECEMBERISTS, AS IT EVER WAS, SO IT WILL BE AGAIN

For over 20 years now, The Decemberists have been making their own unique and distinct brand of folk-rock. It can be quirky, idiosyncratic, thought provoking, poignant, and always downright good. Their latest album and first in six years, As It Ever Was, So It Will Be Again, is the longest album that the band has ever made. It is also a particular standout. I think it is in part because it's more accessible than some of their others....this is surprising given that the band describes the album's 13 songs as semaphores (I had to look up this word) of mutual recognition for our fraught times and faint hope. Not since The Crane Wife have I been this satisfied with A Decemberists' album. So glad that they keep making music.

CINDY LEE, DIAMOND JUBILEE

Listening to Cindy Lee's Diamond Jubilee is a journey—32 tracks spanning two hours and two minutes of immersive music. It’s a commitment, but one that rewards you with a timeless and otherworldly experience. Cindy Lee, the moniker of Patrick Flegel, brings together their diverse influences into a cohesive yet ever-shifting creation.

Flegel, formerly of the band Women, draws on a rich musical heritage shaped by AM radio and family jam sessions in their Saskatchewan upbringing. Their sound evolved from '90s rock icons like Beck and Nirvana to harsher, noisier textures, expressing raw emotion and resourcefulness. They humorously describe some of their earlier work as "fuck you, dad" music, marking their growth as an artist.

Drag and gender fluidity became integral to Flegel’s artistry after their mid-20s move to Vancouver. Influences like Japanese performer Akihiro Maruyama and Karen Carpenter inform their unique aesthetic, which also incorporates No Wave xerox art and Japanese pop designs. The result is a blend of noise, lo-fi aesthetics, '60s pop, and expressive visuals that feel deeply personal and genre-defying.

Diamond Jubilee embodies Flegel’s artistic evolution, creating an album that shifts effortlessly between styles while maintaining an irresistible flow. It’s a fascinating, wholly satisfying listen that leaves you curious for what’s next, even as you savor the moment. 

Diamond Jubilee cannot be streamed on any major platform. Flegel has rejected the streaming era's demands to create something entirely their own. You can listen to the album and purchase it on their Bandcamp site.