by Jane Lambert

The Free States Let the Songs Do the Talking on “Love & Death”

There is something to be said for music that doesn’t immediately tell you what it is. In a world of genre tags, carefully curated aesthetics and songs apparently designed to make perfect sense within the first fifteen seconds, it is rather nice to encounter an album that seems perfectly happy to wander off and see what happens. No map or flashing neon sign saying this is the important bit, just a collection of ideas allowed to develop at their own pace. And that, in a nutshell, is rather what The Free States are doing on Love & Death.

The project of American songwriter Shaun Lyons, now based in Athens, Greece, The Free States has always been difficult to squeeze into one particular musical box, and frankly, why would you want to? There are traces of rock, soul, alternative music, experimental rhythms and a healthy appreciation of melody, but attempting to reduce all of that to a convenient label would miss the point. Lyons is interested in songs first.

“Definite” is a particularly good example. Built around the wonderfully human problem of being indecisive at a crucial moment in a relationship, it moves in 7/4, which is not generally the time signature one reaches for when trying to make uncertainty sound comfortable. But it works. There is an ease here that makes the unusual rhythm feel natural, while the song itself manages to be thoughtful.

Then there is the opening track “Most of All,” apparently born at three in the morning while Lyons’s electric guitar was lying beside him with the amplifier still switched on. Which is probably proof that sometimes the best songwriting advice is simply to leave the equipment where it is and see what happens. The song has a lovely sense of longing running through it, while strings, a refrain and a guitar solo give it a little more space and help distinguish Love & Death from the more guitar driven album that came before it.

Elsewhere, “Man the Baddies” brings considerably more muscle to the proceedings. What began around thoughts of war, friends being conscripted and the complicated question of what it actually means to move forward. It is energetic, rhythmically unusual and probably the heaviest thing The Free States have recorded, but there is no neatly packaged political statement waiting at the end of it. Lyons is more interested in the uncomfortable business of making decisions, which is rather more interesting than having the songwriter hand you a conclusion and ask you to tick a box.

Lyons has talked about songwriting as something that needs to happen before consciousness starts getting in the way, and there is freedom in that approach.

There is a similar freedom in the way the album was made. Recorded largely in Athens, with drums captured in several different rooms and vocals recorded together in another, Love & Death is clearly more interested in capturing a good performance than in constructing some immaculate sonic monument. Lyons makes much of the music himself, working with trusted collaborators when required, and there is something appealingly old fashioned about that. You have an idea, you make the record, you listen to it and you decide whether it works. Revolutionary stuff apparently.

Love & Death is an album that can groove, can rock and it can become rhythmically peculiar, it can pull back and allow a melody to carry the weight and it can occassionally make you wonder where on earth Lyons is taking you before realising that you rather like the journey. The Free States have remembered that the scenic route is where the interesting stuff happens.

Listen here:

04.28.26

by Jane Lambert

Holding the Moment in A Is For Atom’s “Out of the Blue”

There’s a tendency in modern indie music to either overcomplicate or oversimplify – to dress songs up in layers of production until the meaning disappears, or strip them back so far that there’s nothing left to hold onto. The real trick, of course, is finding the balance. Out of the Blue, the latest album from A Is for Atom manages this really well.

This is not an album built on big statements. There are no obvious centrepieces demanding attention, no moments engineered to go viral or dominate playlists. Instead, Mike Cykoski has created a slow-burning collection of songs that reveal themselves over time. It’s a confident move, and one that gives the record a kind of quiet durability.

The title track, Out of the Blue captures a shift in perspective: that moment when something long familiar suddenly feels different. But it avoids cliché in favour of something more observational. There’s no rush to resolve the feeling, just an acceptance that change has already taken place.

As the album develops, it circles similar themes from different angles. “Closer” explores connection as something active, almost deliberate, rather than something that simply exists. It’s a subtle but important distinction, especially in a world where distance, emotional or otherwise, can so often feels like the default. “Love Birds” takes a softer approach, more tentative, focusing on the fragility of relationships and the space they require to survive.

Then there’s “Babylon,” which shifts the lens outward. Where much of the album feels personal, this track engages with a wider sense of instability: social, cultural and even existential. It’s one of the more expansive moments on the record and, if anything, it reinforces the idea that personal experience is always shaped by the world around it.

“Upriver” adds another layer, bringing in mythic imagery to explore ideas of love and return. It could easily have felt out of place, but instead it fits neatly into the album’s broader narrative. The references may be larger-than-life, but the emotions remain grounded: longing, responsibility and the pull of something familiar waiting at the end of the journey.

Musically, this record has indie rock as the backbone, but it’s softened by electronic textures, ambient details and a strong sense of pacing. Arrangements feel intentional but never overworked. There’s a noticeable absence of excess – no unnecessary flourishes.

This sense is also what defines the album. It trusts the listener to stay engaged, and create music that is more than lasting. These are definitely tracks built for longevity.

In the end, Out of the Blue doesn’t try to answer the questions it raises. It doesn’t tidy up the emotions it explores or force them into neat conclusions. Instead, it reflects the way things actually are as fluid, uncertain, evolving and often unresolved. It’s a record that understands you don’t always need to say more to mean more. Sometimes, saying just enough is exactly what gives a song its power.

About A Is For Atom

A Is for Atom is the Brooklyn based project of songwriter and producer Mike Cykoski, blending indie rock with subtle electronic textures and deeply personal, narrative driven songwriting.

With a background that includes studies at New York University and The Juilliard School, along with experience at Harvest Works and Dubspot, Cykoski brings together technical precision and creative instinct in equal measure.

Known for tracks like “Love Birds” and recent releases including “Enola,” “Closer,” and “Out of the Blue,” A Is For Atom has built a reputation for music that favours emotional clarity and atmosphere.

Find out more about A is For Atom on the Website

04.22.26

by Jane Lambert

Where the Land Sings – Mapping Memory and Motion Across Todd Mosby’s “American Heartland”

Instrumental albums are often framed as background music. Pleasant, technically impressive but rarely stepping forward as something that demands deeper emotional or intellectual engagement. And likewise, records rooted in tradition can sometimes feel content to stay within well worn boundaries, honoring their influences without necessarily expanding on them.

But every so often, an artist comes along who treats both form and feeling as open terrain, blending discipline with imagination to create something that resonates far beyond expectation. American Heartland is exactly that kind of album.

This is ultimately a record shaped by place, but not in any obvious or literal sense. Missouri isn’t simply depicted here. It is absorbed, internalized and re-expressed through a musical language that feels both grounded and far reaching. What begins as a personal reflection on landscape gradually unfolds into something more universal, a meditation on memory, movement and the quiet sense of where we come from.

If that sounds like it leans toward the pastoral or predictable, think again. While there is an undeniable sense of warmth and familiarity running through the album, it is constantly being refracted through a more expansive musical lens. Drawing on both Western traditions and the phrasing and tonal sensibilities of North Indian classical music, the compositions move in ways that feel fluid and alive, with melodies stretching and gliding, harmonies shifting with subtle but purposeful intent.

Take Clouds Above Golden Fields or A Full Moon Rising, where the music seems to hover in a kind of suspended state, anchored by tonal centers that allow melodies to breathe and wander. The phrasing in the vocals are there, aided by the use of open strings and drones, giving these pieces a sense of quiet introspection that does not tip over into stillness. They feel less performed than uncovered, as though they have always existed, waiting to be heard.

Elsewhere, the album finds a different kind of momentum. Tracks like Palomino, Land of Green and All The Stars Tonight introduce parallel harmonic movement that gently reshapes the terrain, adding lift and forward motion without ever overwhelming the core melodic voice. These are pieces that expand outward, drawing on contemporary jazz textures while maintaining a strong sense of narrative cohesion.

And then there are the moments of pure intimacy. On The Farm strips everything back to solo acoustic guitar, offering a closer, more immediate connection between player and listener. These are not interludes so much as anchors and reminders that, for all its breadth, the album remains deeply personal at heart.

Across the record, there’s a careful balance at play. Full ensemble arrangements sit comfortably alongside more sparse, folk-leaning textures, with each informing the other, each adding weight where needed or space where appropriate. The sequencing reflects this beautifully, guiding the listener through a series of shifting perspectives without ever losing its sense of direction.

But beyond its technical and structural strengths, what truly defines American Heartland is its sense of presence. This is music that feels lived-in, and brought to life through genuine human interaction. You can hear this come across in the phrasing, in the interplay, and in the way each piece seems to evolve organically rather than follow a rigid blueprint.

American Heartland is less about individual standout moments and more about the journey it creates as a whole. It’s an album that invites you in, asks you to stay and rewards that time with layers of detail.

2 Recording Session The Village Studios Todd Mosby photoby Andrew Matusik

About Todd Mosby

There are artists who follow tradition, and then there are those who expand it, quietly reshaping musical language through curiosity, discipline and a deep sense of purpose. Todd Mosby has spent his career doing exactly that, forging a distinctive voice that bridges continents, cultures and compositional philosophies.

Born and raised in Missouri, Mosby’s music remains deeply connected to the landscapes of his origin, yet it rarely stays confined to any one place. His work is defined by a seamless integration of Western guitar traditions with the tonal depth and expressive nuance of North Indian classical music, a path shaped through years of dedicated study and immersion. This cross-cultural approach informs not just his technique, but the very architecture of his compositions where melody leads and harmony follows with fluid, intentional grace.

Mosby’s playing is marked by clarity, space and a vocal-like phrasing that allows each note to resonate fully. Whether working within a single tonal center or exploring parallel harmonic movement, his music unfolds organically, guided as much by instinct as by structure.

A committed collaborator, Mosby has worked alongside some of the most respected musicians in contemporary jazz and beyond, valuing the immediacy and depth that only live interaction can provide. For him, music is not a solitary pursuit but a shared experience.

That vision reaches a new level of clarity on American Heartland. Anchored by Mosby’s guitar work and guided by two time Grammy-winning producer Jeffrey Weber, the album features contributions from some of the most respected players in contemporary music. Among them are Vinnie Colaiuta, whose drumming brings both precision and elasticity to the rhythmic foundation, and Leland Sklar, whose unmistakable bass tone adds warmth and depth. Tom Scott lends his signature woodwind voice, shaping the album’s melodic contours with a seasoned, expressive touch, while Michael Manring introduces a more fluid, almost orchestral approach to the instrument. The rhythmic and harmonic palette is further expanded by Luis Conte on percussion and Dapo Torimiro on piano and keys, whose playing helps shape the album’s tonal atmosphere. Around them, a wider ensemble, including brass, strings, and vocalists such as Lola Kristine and Laura Vall, adds texture, color, and emotional nuance to the broader sonic landscape.

Across his work, Mosby continues to balance structure with spontaneity, intimacy with scale. His compositions move effortlessly between solo acoustic reflections and full ensemble arrangements, always guided by a clear emotional throughline. With projects like American Heartland, he continues to refine this vision, crafting immersive, emotionally resonant works that invite listeners into a world shaped by memory, movement, and the enduring influence of place.

Keep up to date with Todd Mosby on his Website

Stream music on Spotify and Apple Music

04.14.26

by Jane Lambert

Wayward Sparrow Introduces a Story Driven Sound with Latest Release “Wayward Sparrow”

Songs get written for all sorts of reasons. Sometimes they’re just there to pass the time, sometimes they’re chasing a feeling and sometimes they’re built around nothing more than the urge to tell a story and see where it lands. “Wayward Sparrow,” the new track from Rich Clark’s project of the same name, is one of those songs that started with a simple idea and trusted itself enough not to overcomplicate things.

It began as an attempt to write something in that bluegrass tradition. Something certainly narrative driven, something that moves. The story itself is a familiar one: an innocent young girl who ends up heading down the wrong path without really meaning to. No big dramatic twist here, but very much a story that is something you have heard before. And this is what makes it work.

Musically, the single stands out as the most rhythmically driving track on the album. While the forthcoming record Devil By My Side as a whole leans more into sparse, atmospheric acoustic arrangements, “Wayward Sparrow” introduces a subtle forward momentum without compromising on its stripped down identity. Acoustic guitar remains the focus here, supported by understated vocal harmonies that drift in and out like texture. Small details that add depth without disrupting the minimal framework.

This atmosphere carries over into the recording process itself. Each song on Devil By My Side was self-recorded and self-produced by Clark, who chose early on to invest his time into learning the craft of recording rather than relying on traditional studio environments. This comes across in how honest the music is in its execution and being completely self-made.

“I create music mostly for myself because I enjoy writing,” Clark says. “That said, I hope people connect with these songs as something made passionately and genuinely – something they want to return to and listen to again.”

That ethos runs through Wayward Sparrow as a whole: music built on instinct, space and clarity over perfection. Slight imperfections become part of the overall language, giving the songs a sense of character that polished production often smooths away. And in the case of “Wayward Sparrow”, it’s exactly that balance. – between movement and stillness, story and space, that sets it apart.

About Wayward Sparrow

Wayward Sparrow is the independent project of Detroit based songwriter Rich Clark. Originally starting out as a heavy metal guitarist, Clark gradually found his way into country, folk, and Americana drawn to the storytelling and simplicity of the form. That shift shaped a sound built around space and atmosphere rather than layered production.

All music under the Wayward Sparrow name is self-recorded and self-produced, reflecting a deliberate choice to learn the craft and keep the process entirely hands-on.

Connect with Wayward Sparrow on Instagram

Stream music on Soundcloud and YouTube Music

11.22.24

by Jane Lambert

Laura Baron’s “Beauty in the Broken” is a Mesmerizing Meditation on Vulnerability and Hope

In a world where music often feels crafted to fit industry molds, chasing trends or filling a commercial void, Laura Baron’s new album Beauty in the Broken stands out for its authenticity and artistic intuition.

Her songs don’t follow any pre-set formulas or calculated gimmicks but, instead, they flow with a natural grace, shaped by genuine emotion and life’s unpredictability.

Listen in here:

Guided by the rhythms of experience, each track feels like a reflection of a specific moment.

From the uplifting energy of “Walking on Water” to the quiet introspection of the title track, Baron lets the music lead her and allows for an organic exploration of joy, heartbreak, and healing.

It’s this sense of freedom – this refusal to cater to anything but the soul of the song – that makes Beauty in the Broken such a compelling listen. Baron’s warm and dynamic vocals have the ability to glide over the upbeat instrumentation.

In the title track, “Beauty In The Broken”, the song marries delicate acoustic guitar and tender strings, creating an atmosphere that is both intimate and expansive. The poeticism in the lyrics conveying a profound sense of healing and acceptance, reminding us of the grace that can emerge from even the most challenging experiences.

Then there’s “Misfits and Renegades,” a celebratory track that pulses with energy and infectious optimism. Blending folk and blues, the song’s vibrant piano lines and vocal harmonies create an empowering narrative about embracing individuality and defying expectations.

Baron also brings a touch of romance and intimacy with “Enchanté,” a lush and atmospheric track that blends folk and jazz in a way that recalls the emotional complexity of early Nick Drake. The song’s soft, tender melodies underscored by rich guitar work and a dreamy vibe that transports you into the world of quiet longing and connection.

Perhaps most surprising is her re-imagining of the 1931 classic “Dream a Little Dream.” With its gentle, stripped-down arrangement, Baron gives the song a new life, elevating it with intricate guitar work and lush vocal harmonies. It’s a beautiful moment on the album, showing an ability to take something familiar and turn it into something completely her own.

Produced with precision by Marco Delmar, the sound is lush and inticate without being over produced.

With the title to guide us, we are swept up in the flow of the album. The great thing about music like this is that the listener can allow the music to conjure our own thoughts, allowing enough space to take its own unique message and arrive at its own conclusions about life.

As an artist, Laura Baron has always been known for her ability to connect deeply with her audience, and Beauty in the Broken is no exception.

A longtime fixture of the DMV music scene, Baron has earned accolades for her work, including multiple Wammie Awards for her previous album, Heart of the Great Unknown.

But wiith Beauty in the Broken, she builds on this legacy even more and delivers a collection of songs that feel timeless in their emotional honesty and artistic integrity.

Keep up to date with Laura Baron here:

Website / Facebook / Instagram / Spotify / Soundcloud / YouTube Music

11.19.24

by Jane Lambert

Blonde & Grey’s New Album Release “Drifting Through The Universe” – A Journey Across Decades and Emotions

Blonde & Grey’s latest album release “Drifting Through The Universe” is a thoughtful, immersive dive into classic rock-inspired melodies layered with a contemporary edge.

Kathy Olsen and Neil Friend have created something special here – this is a record that feels as though it’s been lovingly pieced together from the past while gazing firmly toward the future.

The lead single, “All The Time,” is the perfect opener, with Olsen’s soulful vocals and Friend’s effortlessly smooth guitar work creating a sound that is comforting and fresh. It’s a song that sticks with you, warm and melodic, like it’s been waiting on your favorite playlist.

Listen in here:

Friend says about the song:

“I started looping a beat and then record 20-30 seconds of some music on top of that and then toss on some lyrics without spending time worrying about what was coming out – just record it! I took 10 of these and asked the Blonde & Grey community which they like best and this one won.

I used the initial lyrics as the chorus – “All the Time Wondering how it’s gonna be…” I later added verses and a bridge.

I suppose the thinking is we are always wondering what’s to happen next, based on what/who we’re following, decisions we make, where we’ve gone. And it’s an endless process.“

The rest of the album unfolds like a story as it moves through tender reflections and lighter, playful moments.

“Since I Got You” has a breezy sweetness, while “Let’s Jangle” lives up to its name, full of charm and bright energy. Olsen’s flute dances through the arrangements, adding a magical, almost whimsical quality to the songs. It’s a touch that sets them apart and reminds you of the days when rock was unafraid to experiment.

This album feels like a leap forward from their previous release, Face the Music. There’s a stronger sense of identity here, as though Blonde & Grey have really leaned into what makes them unique.

Tracks like “Mud Mills Road” and “Gracie’s Grace” from their earlier work hinted at their potential, but Drifting Through The Universe delivers on it, with a sound that is both cohesive and diverse.

Blonde & Grey have always been about connection, and you can feel that here. Not just in the songs, but in the spirit of the album. They’ve built a reputation as incredible live performers, whether that is in small, cozy venues or online streams, and that authenticity translates beautifully into this record.

About Blonde & Grey

Blonde & Grey, the dynamic duo of Neil Friend and Kathy Olsen, are a true example of the enduring power of music to bridge time, generations, and genres.

Based in Danbury, Connecticut, the duo bring together their unique musical backgrounds into a sound that’s as heartfelt as it is versatile.

Neil Friend, singer-songwriter and guitarist, brings decades of experience from playing in New York’s iconic CBGB scene to crafting songs that traverse decades. His partner, Kathy Olsen, adds a touch of elegance with her virtuosic flute playing and radiant harmonies and draws on her classical training and years as a music educator.

Together, they have cultivated a style that is equal parts folk, rock, and modern pop, infused with nostalgia and innovation in equal measure.

If you’re a fan of Fleetwood Mac, The Moody Blues, or just music that feels honest and deeply human, then their new album “Drifting Through The Universe” deserves your time.

Keep up to date with Blonde & Grey on their Website.

Listen to “Drifting Through The Universe” here.

Stream music on Spotify and Soundcloud.