The performers of this conception include Cale Moon ‘Hound-Dog’ Dobro with no distinguishable act, Denise Stewart-Baker on backing vocals, JMAN on Drums and percussion, Pipes of Valinor on Gaelic Pipes and Woodwinds, and the elusive Dez Maree on Guitars, Bass, Arrangements, Lead and Harmony Vocals, Composing, Engineering and Producing.

The song presents itself as a mix between country, folk, psychedelia, baroque pop and soul. It’s an extremely eclectic song with depth and emotion that bleeds through even though it has some slight issues with the mastering and the balancing. There is enough motivic variation within the instruments present within the song: the keys, the acoustic section, the strings, the synths, the vocals to keep you interested in the song as you listen to it.

One of the redeeming parts of this song is definitely the emotional structure that goes hand in hand with the chord structure of the song itself, presenting a dynamic but emotionally compelling sequence for one to emote to. In some instances, this song is almost like a neo-Western song, with enough amendments to make the genre modern. It’s exciting, complex, and filled with mini-motifs and solos from each instrument to keep your ears peeled.

The harmonized vocals also provide the song with a strong backing to the main vocals, which have been filtered off to provide an interesting and futuristic effect. It’s a track that definitely passes the test of musical variability, crossing between compositional and presentation techniques to give you a pleasant listening experience that goes beyond a ‘simple song’.

SCORE /Excellent – NIGHT STAR (Because of You) is a compelling track that simply unwinds with more possibilities the longer that you listen to it. It has a complex structure with a lot of motivic variation and a unique form of presentation, giving itself an edge over other releases out today.

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Gabe describes his creative process as a testament to his artistic authenticity, with a melody-first approach. This involves denoting each musical phrase as a foundation for the lyrics that give it life. Being an accomplished guitarist and keyboard player, his instrumental skill provides a rich and textured backdrop for his lyrics- introspective lyrics, that makes his sound both emotionally resonant and instantly accessible. The culmination of all of these traits result in a unique and honest musical style that captures the highs and lows of a life lived, set to a soundtrack that is inherently memorable.

With this, his new single is titled ‘Sweet Mama’.

The instruments that lace the introduction of this track are pretty warming and inviting, with an acoustic soundscape that satisfies both the high and the low ends. Gabe’s voice seems to be full of emotion, giving the song an extra lyrical tone that elevates the song. It has a lot of emotional depth to it.

However, the quality and the mastering of the track are quite off, being compressed and sounding as if it were downloaded with a bit of bitrate loss. This compromises the listening experience of the song and honestly detracts from the full range of emotional intensity within the song. If these technical issues can be addressed, this song will definitely appeal to someone who needs a simple, stripped-down song that they can emotionally and lyrically resonate with.

SCORE/Mediocre to Good – The song has incredible potential but falls short on mastering issues that prevent the song from being fully understood and enjoyed. It has a lot of emotional depth mixed into it, with a lot of warmth and invitation, with the vocals being adequately portrayed to fit the theme of the song.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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Lyrically, the album is rich with folk tradition, nature metaphors, colloquial turns of phrase, and personal introspection are central throughout. Gibson’s writing is observational yet emotionally resonant, allowing listeners to find themselves in both the literal and symbolic landscapes she paints. Songs like “Waiting for a Sunny Day” and “Sweet Montana Mornings” use natural imagery not just as backdrop but as a conduit for emotional states. In “Who Are You, Red Bird?”, she weaves a tender narrative about loss and spiritual connection, hinting that the visiting bird is the soul of a loved one. It’s a beautiful metaphor, delivered simply but evocatively.

Across the album, repetition is a lyrical tool Gibson uses with intention, sometimes to strong effect, as in “There Is a Time”, which feels like a traditional tune handed down through generations. However, in “Crossroad”, that repetition borders on overly simplistic, diluting the emotional impact despite its solid thematic foundation.

Instrumentation is intentionally sparse but expertly employed. Gibson’s fiddle is the soul of the album, often taking centre stage in intros or flourishes, as in “Hello Trouble”, “Coming Back to Life”, and the closing track “Sienna Goodbye”. Her fiddle work is technically sound yet never showy; it serves the songs rather than overshadows them.

Guitar work is similarly tasteful, complementing the vocals and lyrics without overwhelming them. On “Country Sunshine”, the guitar pairs gently with her voice to reflect the contentment of country life, though at times the track feels a bit hollow and might have benefited from added instrumentation.

One standout production choice is the use of piano in “It’s About Time (Quantum Me)”, a welcome shift in sonic texture that broadens the album’s palette without jarring the listener. The song is one of the best mixed on the album, with a subtle background guitar solo that enhances rather than distracts.

Marca’s vocal tone is warm, expressive, and textured with the kind of lived-in quality that fits this genre perfectly. Her delivery often features the natural ups and downs typical in traditional folk singing, particularly noticeable in “Hello Trouble” and “There is a Time”. She sings with clarity and emotion, and her vocals are mixed well throughout the record, neither too forward nor lost in the instrumentation.

While the mixing across the album is generally consistent and clean, there are moments where additional layering could have added emotional weight. For example, “Country Sunshine” and “Crossroad” might have benefited from a deeper sonic bed. Still, the minimalist approach suits the honest, small-town storytelling Gibson favours.

Thematically, It’s About Time is impressively coherent. Almost every track touches on one or more of the following: time, place, loss, rebirth, and the healing power of nature. It’s a meditative album, reflecting a life spent in wide open spaces shaped by the seasons’ cycles, the pull of home, and the wisdom gained from a well-lived life.

There’s an undercurrent of nostalgia here, not the glossy kind, but the grounded version that acknowledges pain alongside beauty. Marca is not trying to dazzle; she’s inviting you into her world, one campfire tale and fiddle tune at a time.

Marca Robbin Gibson’s It’s About Time is a sincere and skilful folk debut that shines in its quiet moments and honest storytelling. The instrumentation is thoughtful, the production modest but effective, and the songwriting grounded in tradition yet personally reflective. While a few tracks feel less polished or overly repetitive, the album as a whole succeeds in transporting the listener to a place of rustic calm and emotional resonance.

SCORE / Excellent – A lovingly crafted collection of folk songs rooted in American soil and soul, Marca Robbin Gibson’s It’s About Time marks a graceful and memorable entry into the folk landscape. Give it a listen!

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In terms of professional recognition, he is currently signed to WSP on a song licensing agreement for media categories in Film, TV and Gaming. He also has a background in the Manchester music scene dating back to the eighties.

His newest release, titled ‘Manchester’, is a compilation of released singles with two acoustic tracks to complement the whole body of work.

Manchester can be accessed here.

I can definitely hear why he has a licensing agreement, as a lot of the tracks on the release are very well-mastered and have an emotional tone that could definitely accompany delicate scenes within visual media. His vocal tone reminds me of the vocalists in Tears for Fears or the lead singer of Depeche Mode- emotional and sombre with a masculine strength and definition to it.

The album is fairly interesting, presenting itself subconsciously as an umbrella of a compilation of softer rock genres in the past 50 years- some tracks genuinely have a more folksy twang to them, with the mastering to complement it, while some tracks can have a more 90s indie rock flair to it. The instrumentation tends to be quite varied, with an adequate twist to it, but falls flat with how monotonous and single-toned it can be interpreted as. I’m particularly honing in on the interpretation, as there’s music that can be analysed within the lens of music theory and musicology- with both nodes not necessarily intersecting when it comes to novelty and capturing human attention.

Tracks like ‘Hello Hello’ bear a more mod aesthetic to it, giving it a sentimental but carefree, happy-go-lucky feel, reminding me of songs like ‘Holiday’ by the Bee Gees. However, what I mentioned in the previous paragraph can perhaps be expanded upon more by this analogy: the instrumentation is full and lively, but the vocal work does not necessarily add more or less motivic variation compared to Holiday. This, I would say, is where it falls flat on.

However, I will definitely state without any doubt that the instrumentation and arrangement entirely makes up for what is lacking in vocal variation. This is apparent in the track ‘Castles in the Sand’, with a delicate and apparent string section giving the song a bit more of a sentimental and orchestral feel in the midst of the acoustic soundscape.

The symbiosis of his vocals and the instrumentation seems to shine the most in tracks like ‘Love is an Island’, in which the vocals take on a heavier tone to match the intensity of the backing track as well. It has a Beatles-esque feel to it, and can definitely have crossover appeal, sounding like a song that would definitely resonate most with people, as well as a high potential for people to sing along to.

Unfortunately, I have to say that the album eventually falls into predictability and doesn’t necessarily stand out within the rest of the tracks. A bit of genre fusion or variation within the vocals would’ve helped spark some kind of excitement within the listening experience of the album. It’s not necessarily a ‘bad’ album, but more must be done to definitely elevate it into a higher echelon, which I think Neil Marsden is completely able to achieve. This release is a great start, and I hope to hear more from him.

SCORE/Good: Neil Marsden delivers with a safe collection of heartfelt music with his newest release, ‘Manchester’. It has a bit of interesting inter-genre expansion within the world of soft rock and lush instrumentation, with the vocals being passable. For the first body of work I have heard from him, this is a good first step.

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“Saturday Tea” kicks things off with an upbeat and bass-heavy swing, carried by bright drums and a melody that sticks. There’s something infectiously happy about it, with the lead vocal stretching the ends of lines just enough to feel playful. The harmonies near the end offer a satisfying close to a sunny opener.

“Fireworks” glows with that same brightness, opening with a crisp drumbeat that unfolds into guitar and bass layers. The vocals have a Dylan-esque drawl and a touch of laid-back Americana charm. The metaphor of love being like fireworks every night is simple yet effective. Neil Young’s shadow looms in the guitar work, it’s warm, twangy, and heartfelt.

“Away She Goes” brings in a lovely keyboard that adds nostalgic weight to the track, one of the album’s standouts. The lyrics are sparse, but they carry emotional heft. This is a bittersweet goodbye set to a groove that’s easy to sway to. Again, the guitar leads shine with tasteful note changes that give the song depth without drama.

“Siempre” slows things down with a romantic mood. The saxophone is a beautiful addition that elevates the track into a new emotional space. Even without understanding the lyrics, the yearning in the vocals is clear. While the keyboard placement feels a bit misaligned here, the song’s heart remains intact.

“Uncle Joe” tells a story. It opens with a unique bassline and builds into a character sketch that feels like you’re sitting across from a well-worn family member, hearing tales half-true and fully engaging. The simplicity of the lyrics, paired with gentle backing vocals and textural guitar details, make this one feel intimate.

With “Delicious Sin,” the band channels a Crosby, Stills & Nash kind of harmony, soaked in 70s sunlight. The rhythm is easy and danceable, like something you might shuffle to barefoot in your kitchen. The harmonies are especially strong here, though the track ends more abruptly than expected, leaving you wanting just a little more.

“Pharaoh” stands out for its unique vocal intro and the use of bells, creating an almost ritualistic sound. The bass again takes centre stage, full and forward. The vibe is summery yet darker, like a beach party at twilight. Percussion plays a key role in driving the song forward, and the ending strips everything back to just vocals and keys, giving it a cinematic fade-out.

“No Regrets” brings a tender moment. With echoes of Zeppelin’s Tangerine, it’s soaked in folk-rock warmth. The lyrics touch on reflection without remorse, capturing a nostalgic but uplifting feeling. It’s a reminder to live in the moment, which is a consistent thread throughout the album.

“Dreaming” is delicate, led by beautifully played guitar and tight brotherly harmonies that seem to flow from a single soul. It’s soft, soothing, and quietly powerful, a lullaby for the contemplative and the hopeful.

Closing track “Under the Sun” ties it all together. Acoustic guitar, layered percussion, harmonised vocals, and that ever-present golden glow wrap up the album in a satisfying full-circle moment. It’s not just a great song; it’s a perfect closer, one that stirs curiosity for what’s next for the band.

SCORE/Outstanding – Finders Keepers is an album that feels lived in, like a vintage postcard from another time with a voice that’s entirely now. The Shrimps have created a sound that’s warm, groove-heavy, and quietly profound. A hidden gem that feels like a discovered treasure.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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This collection of songs, born out of a long creative gestation and interrupted studio plans during the pandemic, feels raw and meticulously crafted. Each track unfolds like a scene from a forgotten film, it’s moody, reflective, and steeped in a dusty elegance.

The album opens with “Overboard,” a delicate, emotional invitation into Machell’s world. It begins with a lone Spanish guitar, soon joined by his silky vocals. The track builds in intensity, but never overwhelms, preferring to smoulder rather than burn outright. The outro circles back to its quiet beginnings, a full-circle moment that sets the tone for the album’s cyclical structure.

“Saving Grace” shifts gears slightly, with an upbeat edge and a clearer sense of rhythm. Machell’s raspy delivery brings a rock sensibility to the folk foundations, offering something reminiscent of Nick Mulvey. It’s guitar-heavy and rhythmically rich, showing early on that this album refuses to stay in one lane.

The first instrumental, “Pastures Skewed,” follows a slow fade-in of drums and guitar that feels intimate and immersive. Without lyrics, the track leans heavily on mood and texture, and it works. The absence of vocals gives listeners a moment to breathe and absorb.

“Just Out of Aflou” introduces a Saudi-inspired shift in tone. This brief, atmospheric piece acts almost like an intermission, a sonic detour that hints at the album’s broader geographical and emotional range.

“Ghosts” is the album’s heart. It’s long, slow, and utterly captivating. Here, perhaps Machell is leaning into Appalachian folk influences, building a landscape with just guitar, voice, and ambient vocal flourishes. It feels like a spiritual journey, the kind of song you’d want playing as you ride horseback through the desert at sundown.

“Still the Same Day” brings a darker, bluesier energy. The vocals are more assertive here, breaking away from the introspection of earlier tracks. When the guitar drops out mid-song and leaves Machell’s voice exposed, it’s a moment of stripped-down vulnerability that hits hard.

From here, the album begins a series of interspersed short instrumentals, such as “Over-Shoulder Glance,” “Tail Across the Square,” “Overbackwoods,” and “Alleyway Chase”, that act as palate cleansers. They’re never filler. Each one adds a unique emotional beat, like visual montages in a film, separating and enhancing the longer, more narrative-heavy pieces.

“Clock of Fools” dips into sorrow and weariness, a slow builder with a subtle payoff. While it may not grab attention immediately, the second half proves worth the wait, especially with its intricate guitar work and restrained emotional arc.

“Come In, Echo Bravo” is the album’s most cinematic track. It evokes post-apocalyptic imagery, something that could easily belong on a Last of Us soundtrack. It’s dark, poetic, and quietly powerful. I would argue that it’s the emotional centrepiece of the record.

“Searching Heroes” stretches out again, allowing the album to breathe. It’s a slow-burn triumph that shifts from introspective calm to soaring finale, proving once again that Machell excels when given space to explore. It’s one of the most affecting tracks here, it’s haunting, expansive, and unforgettable.

The album ends with “Outpost,” a perfect curtain call. Opening with a thunderstorm, it slowly unfolds into a melancholy guitar melody layered over ambient rain. The nature sounds persist until the very end, grounding the album’s spiritual highs in something elemental and real. It feels like the credits rolling on a story that, while deeply personal, resonates far beyond the self.

SCORE/Outstanding – Saudi Shakes is a remarkable album, one that doesn’t just entertain, but transports. Ghost Carnival has crafted something timeless and placeless, rooted in folk but branching into something far more cinematic and borderless. It’s not just an album, it’s a journey.

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So let’s have a listen …

The first track is Lighthouse, which starts with a drum beat followed immediately by a well-played acoustic guitar. The mood is somber, but peacefully uplifting. Then comes the bridge, complete with its sound effects, and just as suddenly, we’re back to the main acoustic riff.

The second track River Song again features the acoustic guitar playing a cool, dark folk riff. More sound effects in the bridge and back to the main acoustic guitar riff, and some really nice lead work over a keyboard vamp. I really dig the ending crafted for this song, as it slowly builds and fades away. So far, the first two tracks have just been instrumentals, no vocals.

Evo is the third song on the album. Starts with a nice acoustic guitar drone riff that reminds me of a day at the lake, perhaps a busy picnic, with it’s busy shuffling around guitar drone riff. McRee sets a very nice table.

Spirited Away is the album’s fourth song. I really like the intro and main riff of this song. Sounds very tribal. McRee uses a lot of open ringing strings.

The fifth song on the album is the title cut Pasts & Premonitions, which starts off with a spacecraft radio voice and then opens up into a nice pleasing folk riff. The keyboards underneath add to the tension of the song. And it ends with “2, 3, 4” in the spacecraft radio voice. Cool.

Tree Falls is the sixth song on the album. Very complex start this one. A lot is going on, multiple arpeggiated acoustic guitar parts flowing to create a vibrant and satisfying portrait. My favorite track on this album so far.

We’re still all instrumental.

In The Name Of is the seventh song. More flowing guitar melodies. The drumbeat in this track seems a little too loud and very mechanical, but the acoustic guitar playing is excellent.

The eighth song is titled Fallen, a lovely acoustic guitar instrumental. These songs are pleasing to listen to, but everything is beginning to sound the same, which I can’t decide if that’s good or bad. At any rate, it does take a lot of skill to play these parts, so hat’s off for that!

Home, the ninth song, starts immediately with drums and a keyboard right out of the gate accompanying the acoustic guitar playing lovely melodies.

The tenth song on the album is Promise. Starts off with a beach vibe with a bouncy drum beat supporting the keys and acoustic guitar lead riffs. Not sure why this mentally triggers beach scenes for me, but it does. You too? Musically, the song does sound very hopeful, which is of course the best resolution for a promise.

Waltz for a Crow is the final song on the album. A nice folk song starts with a nice mellow drum beat, lots of harmonics floating on top of the main acoustic guitar. I dig this chord progression and its interesting changes.

On the plus side, these are really well crafted songs with lovely acoustic guitar melodies and production. All the songs are very ear-pleasing. On the minus side, I thought the drums were too mechanical, maybe a keyboard or drum machine drummer. I would like to hear the songs with real drums.

SCORE/Good: Overall, this new Russ McRee new folk album is good. It has a very adult contemporary folk sound. Each song is pleasing to the ears. Well, to my ears anyway. Nicely done, Mr. McRee, nicely done. Much love, Beth

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In this EP titled Echoes of Anatolia, “Fırat Günel arranges three anonymous folk songs (Yağmur Yağar Taş Üstüne – Rain Falls on the Stone, Bülbülüm Altın Kafeste – My Nightingale in a Golden Cage, and Mağusa Limanı – Port of Famagusta). He is accompanied by prominent Turkish musicians Cafer Nazlıbaş (Kabak Kemane) and Ahmet Ürütük (Oud). With this EP, Günel aims to bring listeners together with “sounds and stories of Anatolia, inviting them to experience a bridge between the past and the future.” (Bio).

So let’s have a listen …

The EP starts off with “Yağmur Yağar Taş Üstüne” (Rain Falls on the Stone) which kicks off with a lovely piano riff, then the vocals and the background vocals come in, but just briefly, followed by the soft texture of the piano. The piano sets a very pensive mood. About halfway through the song Günel’s flute comes in playing the piano melody. The sound is gorgeous!

The second song is “Bülbülüm Altın Kafeste” (My Nightingale in a Golden Cage). It starts off with a back and forth piano then what almost sounds like an acoustic lead guitar, but is actually a kabak kemane (a bowed string instrument). It definitely adds a smile to the arrangement as it follows along matching the notes of the piano and embellishing on the melody.

The final song on the EP is “Mağusa Limanı” (Port of Famagusta), which starts off with a flute solo over a very contemplative piano line. The kabak kemane is also featured prominently in this song. The melodies are epic!

SCORE/Excellent: An extremely well-crafted EP with gorgeous songs. The traditional instrumentation works well against the contemplative pensive vibe of the piano to bring out Günel’s wonderful melodies. If you are into traditional folk music from around the world, this EP is a must-listen! Put Echoes of Anatolia into your favorite world music playlist! Much love, Beth

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From the start, the song pulses with powerful, driving drums, setting a relentless pace that pulls you in. The instrumentation feels weightier, with deeper tones and a subtle edge that sets it apart from their past records. And while the overall mood leans heavier, Jackie Miclau’s delicate moments on the keys shine through like brief flickers of light, one of my favorite elements in any Mt. Joy song. Her touches add an almost ghostly beauty to the track, softening the intensity just enough to keep you hooked.

Lyrically, “Coyote” feels introspective, carrying a sense of isolation and longing that fits perfectly with its namesake. Matt Quinn’s vocals hold a certain urgency and grit, delivering the lines with a quiet intensity that builds as the song progresses. It’s less carefree than some of their past hits, but that shift makes it all the more compelling.

I wasn’t expecting this direction from Mt. Joy, but the more I listen to “Coyote,” the more it pulls me in. It’s moodier and more intense than their usual sound, but that shift feels natural rather than forced. The pounding drums and raw energy make it stand out, yet there are still glimpses of what I love about their music.

It’s a bold move, and I must say I do prefer their lighter, feel-good songs, but I’m excited to see them explore something different. I have a deep connection with Mt. Joy, with them being one of the first bands that I saw live and loved. I went to multiple of their last UK tour shows and am eagerly waiting for them to come back. If this track is any indication, the new album could take us on an unexpected ride.

With the album dropping in May, “Coyote” leaves us wondering what musical path Mt. Joy will take us down next. Will they continue this darker, more atmospheric direction, or is this just a glimpse of a broader sonic journey? Either way, this track proves they’re not afraid to evolve, and that’s something to be excited about.

SCORE/Good: If you enjoy moodier folk music, then this song is for you! Or if you are a lifelong fan and just like to be there for the new Mt. Joy song drops, then you will be interested in this new sonic voice they’ve created.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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One of the most stunning aspects of the song is the way he nails those high notes at the end of some of the lines; absolutely beautiful and so full of emotion. Gossett’s talent as both a lyricist and musician really shines through, proving once again that he’s a poet in musician form. The lyrics feel intensely personal and relatable, touching on themes of growing up and still feeling juvenile, craving parental validation even as an adult. 

The line “the streetlights are turning on a little early, I don’t know if I should get home” struck a chord with me. It captures that feeling of uncertainty; wondering whether you still belong to your parents the way you used to, and whether the people who loved you when you were young still feel the same way. He also touches on the poignant contrast between childhood memories and the reality of adulthood, evoking a sense of nostalgia that’s comforting, but also a little heartbreaking. 

I had the chance to catch his free show at Omeara recently and let me tell you; this song does not disappoint live. If anything, the acoustic version was even more powerful and raw than the studio cut. Hearing it live for the first time, well, I’d be lying if I said it didn’t bring me to tears. There’s something about the stripped back arrangement and the way his voice resonates through the room that makes the emotion hit that much harder. It was one of those shows that’s going to stay with me forever. 

If you’re looking for a song that perfectly balances tenderness with a sense of longing, “Like I Do” is it. Dylan Gossett continues to prove that he’s more than just a talented musician. He’s a storyteller who knows how to make you feel every word. 

Overall, “Like I Do” is more than just a song; it’s a vulnerable confession wrapped up in a beautiful melody. Dylan Gossett’s ability to turn deeply personal experiences into universally relatable art is what sets him apart as a songwriter and musician. This track not only highlights his growth as an artist but also cements his place as one of the most promising voices of his generation. I can’t wait to see where this new direction takes him.

SCORE/Outstanding: If you want to feel like you’re in the back of your parent’s pickup truck in summer, looking through childhood photo albums, this song is for you. It’s a little sad, about wanting your parents to want you the same way they did when you were younger, but it’s not an inherently sad song. If you like bittersweet country music, check out this song!

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