Rien de Faire, a trio of musicians comprised of keyboardist Vic Martin, vocalist Mike Sebbage and guitarist Steve Summers, originally formed in the 1980s in the UK before disbanding only two years later. After pursuing various other solo and group endeavours, the three eventually decided to reform during the 2020 Covid 19 lockdown and release their first group album All Good Things in the same year.

Their newest release Here Comes The Freak Show is a dreamy treat for seasoned and new listeners alike; the group’s rich sound filled with genre-bending surprises and an overall chill vibe easily appealing to fans of a classic pop, jazz and blues sound. The album contains nine tracks of impressive quality and production value, likely as the result of the three musicians’ extensive experience working both in underground music scenes and alongside major international artists.

The album’s first track is the smooth introductory ‘Here Comes The Freak Show’, which bursts to life with a lively saxophone solo courtesy of guest musician Joe Difiore, whose addition in the album greatly contributes to its debonair sound. A groovy bass line leads listeners into the suave track, which is soon lent an extra edge through Mike Sebbage’s melodious vocal performance; his gravelly vocal tone winding itself through enticing melodies while echoing the track’s chorus lyrics (“You can run but you can’t hide, from supernatural suicide…Here comes the freak show”). It’s an intensely alluring start to an album full of charmingly stylish jazz and blues-infused pop jams.

The second and third tracks, ‘A Fool To A Clown’ and ‘Leave A Light On’ see Sebbage delving deep into exploring vulnerability through love and loneliness. The former track, which pleasantly serenades listeners with its languid tempo and Steve Summers’ delicate guitar licks, sensitively examines rejection and feeling shunned by a lover through Sebbage’s mesmerisingly melancholy vocals. Similarly, ‘Leave A Light On’ carries a profoundly introspective tone with the help of Vic Martin’s refined keyboard accompaniment, Sebbage’s wistfully sung lyrics pointing towards guilt at falling into bad habits (“Cause when the bogeyman calls, just leave a light on”) and a hypnotising outro characterised by an electric guitar solo beneath Sebbage’s mournful calls.

The soft notes of a harmonica greet the audience’s ears in ‘Tell Me I’m Not Crazy’, before the track’s mellow instrumental melts satisfyingly into the singer’s deeply emotive vocals. The vocalist surprises by transitioning into a breezy falsetto at the end of the track, which only appears to add weight to his desperate pleas of “Tell me I’m not crazy…Tell me I’m still strong” as the song’s somnolent soundscape lures listeners into an ambience that feels both tender and sombre.

The band seem to kick into the next gear with ‘Slow Ride’ and ‘Missing Out’ which are sure to delight listeners with their swaying mid-tempo beats and ear-worm vocal melodies. From the beginning of ‘Slow Ride’ Sebbage’s vocals seem even more crisp and stylish than usual, as he matches the carefree flow of the bass guitar and keyboard to great effect. In contrast, Difiore’s return on sax in ‘Missing Out’, which is the album’s only single, allow this lulling blues-pop number to stand out with Rien de Faire’s signature soothing genre fusion that will keep audiences in rapt fascination. Indeed, every element of the track down to its composition and production seems to enchant with the group’s polished performances and their thoughtfully meditative music style.

‘Spooky’ bursts with jazzy charm with its low-key keyboard-led intro and its memorably moody chorus (“Love is kinda crazy with a spooky little girl like you”), delivered in the singer’s gritty croons. Martin’s numerous keyboard solos further allow this track to take off with its light and airy tone; luring listeners in with the track’s laid-back and easy-listening style.

The final two tracks of the album ‘Fool When It Comes To Love’ and ‘What Would I Do (Without Me)?’ are the perfect songs to end this smoothly accomplished album; both tracks delivering infectiously rhythmic keyboard, drum and guitar accompaniments as well as Sebbage’s soulful croons. With the two songs lamenting over the complexities of personal relationships and the solitude that life sometimes brings, the tracks’ blues-inspired compositions make for pleasantly tranquil listening material for winding down after a hard day.

Score/Excellent: Here Comes The Freak Show is a wondrously accessible exploration of lush jazzy soundscapes and quiet introspective moments sure to appeal to fans of many different genres. It’s also clear from the easy flow of the album and the well-melded skills of Martin, Sebbage and Summers into each track, that Rien de faire overflows with both talent and artistic vision, which is something that any true lover of music will appreciate.

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

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The Water’s Edge opens with a gentle guitar lick that instantly evokes a sense of nostalgia. The melody feels like a soft memory from childhood, innocent, reflective, and personal. Shortly after the guitar begins, ambient wind sounds fade in, wrapping the melody in a light, breezy atmosphere that enhances the dreamlike quality of the piece. These swooshing textures remain subtle throughout, never overpowering the main instrument but instead complementing it with understated elegance.

Randy’s fingerpicking technique is on full display here. The precision and warmth of each note speak to a musician with not just skill but deep emotional intent. There’s a particular quality to the guitar work that recalls the expressive melancholy of “Café 1930s,” though The Water’s Edge feels more uplifting and hopeful. The mood evolves naturally, mirroring the progression of life itself, from the quiet innocence of youth to the gentle acceptance of maturity.

The track is also a technical achievement. The mix is balanced and refined, with every sound in its right place. The ambient effects never compete with the guitar for attention. Instead, they provide a canvas on which the melody paints its story. The final notes are especially poignant; the closing pluck of a few strings gives the piece a clear, satisfying conclusion that feels intentional and complete.

This release comes on the heels of Randy’s recent single “Pop’s Bebop,” a vibrant track that showcased his melodic guitar playing in a more energetic setting. In contrast, The Water’s Edge offers a more introspective side of his artistry, revealing the emotional depth that defines much of his smooth jazz catalogue.

Randy Sloan’s path from rock and Top 40 bands on the West Coast to becoming a key figure in the Dallas-area jazz scene is one of dedication and evolution. Performing over a dozen live shows each month at upscale venues, Randy has honed not only his technical abilities but also a distinctive voice that resonates with listeners across genres.

SCORE/ Outstanding – For returning fans and new listeners alike, The Water’s Edge is a beautiful reminder of what smooth jazz can be when approached with passion, sincerity, and a love for the craft. It’s a thoughtful, emotionally resonant piece that further cements Randy Sloan as an artist worth watching in today’s jazz landscape.

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

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This album brings together some of the finest musicians in jazz today. The ensemble includes Mike Garson on piano, John Chiodini on guitar, Chuck Berghofer on bass, Luis Conte on percussion, Aaron Serfaty on drums, Hendrik Meurkens on harmonica, and Rickey Woodard on tenor sax. The musicianship across the record is exceptional, with each performer given space to shine. The engineering by Allen Sides and mastering by Bernie Grundman result in a flawless audiophile experience, with impeccable mixing and balance that allows every instrument and nuance of Stanley’s voice to be fully appreciated.

Opening with Fascinating Rhythm, the album sets an energetic tone. The drums are prominent and engaging, followed by a quick and groovy piano that reflects classic jazz traditions. Stanley’s phrasing is playful and expressive as she sings about the frustration of routine and the desire to reconnect with a freer, former self. The guitar remains subtle but rewarding for those who listen closely, and the repetition of the first verse adds a cyclical charm that suits the song’s restless energy.

It Had to Be You slows things down with a more reflective mood. The harmonica and piano work in tandem to build a mellow atmosphere, while Stanley’s deeper vocal tone enhances the song’s emotional weight. The build toward the end, followed by each instrument fading out one by one, creates a soft, graceful landing that demonstrates the album’s attention to dynamics and pacing.

With Somebody Loves Me, a romantic saxophone introduces a track filled with curiosity and hope. Stanley sings of longing and the belief that love is imminent, balancing sweetness and introspection. The saxophone remains a highlight, capturing the gentle uncertainty and optimism of the lyrics.

Hard Hearted Hannah brings a sharp turn in tone. With a biting delivery and raspy edge, Stanley fully inhabits the character of the song. Her performance peaks vocally here, with a standout line describing Hannah as the meanest girl in town. The instrumental break that follows is electric, particularly the saxophone, which returns with passion and soul after a strategic pause. It is a moment of theatrical jazz storytelling at its best.

The Man I Love offers a sincere contrast. It is tender and vulnerable, with themes of affection and understanding. Stanley’s vocal control is striking here, supported by precise piano work and understated guitar lines. The production quality stands out, blending all elements into a smooth, emotional listening experience. The pace invites reflection, and the fade into the next track allows the sentiment to linger.

What’ll I Do? opens with a confident bassline, setting a tone that is both mischievous and melancholic. The beat grows in complexity as instruments join in, carrying the emotional arc of separation and lost love. Stanley whispers the song’s title at the end, a subtle and haunting conclusion that echoes the quiet heartbreak beneath the swing.

Tea for Two is a charming and upbeat number led by a bright jazz piano. Her smooth vocals glide over lyrics of romantic domesticity, and the guitar solo near the end adds a thoughtful pause that enhances the emotional core. The track is lighthearted yet emotionally grounded, exemplifying Stanley’s ability to balance whimsy and weight.

Everybody Loves My Baby brings back energy with a folky harmonica and a sensual sax. The lyrics celebrate a love that is both envied and fiercely loyal. Instrumentally driven, this song still leaves plenty of room for Stanley’s character to come through. A playful spoken line at the end, “That’s right girls,” adds a cheeky, confident touch that helps close the piece with flair.

The One I Love Belongs to Somebody Else offers a sharp thematic pivot. The guitar riffs are smooth and sorrowful, setting up lyrics that explore the pain of loving someone who is already committed. It is a bittersweet counterpart to the joy expressed in the previous track and reveals the album’s careful sequencing and narrative contrast.

All Alone continues the introspective turn. The guitar adds a rock-infused edge, blending into the jazz framework without breaking the mood. Stanley sings of longing and loneliness with sincerity, and the piano builds intensity before falling away, reflecting the emotional tides of memory and loss. The instrumental fade at the end leaves a resonant stillness.

You Made Me Love You closes the album with softness and restraint. The instruments are more spaced out, giving room for the listener to reflect on what has come before. Stanley’s final vocal note is delivered with precision and grace, followed by a delicate fade of piano, bringing the project to a quiet, satisfying end.

SCORE/ Outstanding – Lyn Stanley’s A Tribute to 1924 is a testament to her vision and dedication. It honours the past without mimicking it and brings these timeless songs to life with clarity, care, and unmistakable style. Every choice feels intentional, from the arrangements to the sequencing, and the result is an album that feels classic and fresh in equal measure. For jazz lovers and audiophiles alike, this is a standout release and a moving tribute to a defining year in musical history.

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

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Katerina’s journey into songwriting began at the Athenaeum Music Conservatory in Athens, where her improvisations on the piano laid the foundation for what would later become a fully realised jazz expression. Completing her jazz vocal studies in 2023 proved to be a defining moment, and We’ll Meet Again captures this transformative chapter in both sound and spirit.

From the opening track, On The Spot, it’s clear that this is classic jazz bar territory. Katerina’s voice blends seamlessly with the instruments, not overpowering but instead conversing with them. The trumpet solo stands out, not just as a technical highlight but as a bold artistic choice. In an era where vocals dominate most music, letting the trumpet take the lead offers a refreshing reversal, and it works beautifully.

When You’re Gone slows things down with sensuality and introspection. It is a song made for late-night listening, where subtle vibrato and controlled phrasing carry real emotional weight. Midway through, the piano takes over in a burst of energy, pushing the track into a more intense and expressive space with scatting that adds both texture and spontaneity.

Clock Hands plays with mischief. The vocal phrasing is nimble, echoing the rhythmic playfulness of the piano. There is an undeniable synergy here, a conversation between voice and keys that feels both effortless and deliberate. The track shows off Katerina’s skill not just as a singer but as a jazz interpreter.

In her rendition of George Gershwin’s Someone To Watch Over Me, Katerina opts for restraint and simplicity. The slow tempo and soft delivery give the lyrics room to breathe. The message of hope and vulnerability is treated with the respect it deserves, and her control over dynamics makes the track quietly powerful.

Distant Love leans into familiar jazz themes – longing, wine, and the gentle ache of temptation. The bass plays a central role here, walking alongside the smooth piano lines with confidence. The chemistry between the rhythm section creates a sensual undercurrent, tying the track together and keeping it grounded even as the melody soars.

Finally, We’ll Meet Again closes the album with grace. It begins softly, but grows both vocally and instrumentally into something warm and uplifting. The richness of Katerina’s lower register shines here, and her use of elongated notes adds emotional depth. Ending with the album’s title line is a subtle but satisfying touch, a full-circle moment that lingers after the music stops.

Katerina Adamopoulou’s debut is more than a collection of jazz tracks; it is a portrait of an artist navigating memory, relationships, and change. Her voice is expressive, technically strong, and always in conversation with the instruments around her. The ensemble behind her, featuring standout contributions from Trifonas Tipou on piano and Giorgos Thomopoulos on trumpet, provides the perfect backdrop for her storytelling.

SCORE/Outstanding – We’ll Meet Again is a promising and heartfelt debut. It offers a glimpse into the world of a vocalist and composer who understands jazz not just as a style, but as a language for personal truth.

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

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Matt says the album is made “with progressions between sections, time signature shifts, and other genre influences; a little something for everyone.” Sounds interesting. Particularly the Math Rock aspects.

So let’s have a listen …

The first song on the album is “Rowena”. It immediately starts off with a trumpet solo against some vamped guitar chords. The chord progression ends with an off-kilter vibe. Then the full song begins with a horn section. They keep throwing in atonal chords and odd progressions. This is an instrumental piece, no vocals. I like the guitar solo in the middle of the song. This is definitely jazz, not hearing much rock yet. But we’ll see.

“Junipero” with a repeating guitar motif. About :45 seconds in, we get our first vocals. Nice voice for jazz/rock fusion. The album is mixed really well, I can hear distinctly all the individual instruments chiming in. I wish I had the lyrics. I like the violin battle with the lead guitar in the middle. The next male vocals have a different – more distant – mix. Nice live drums! The drumming on this album is particularly good throughout all the songs.

“In Transit” starts with what sounds like a muted horn. Enters a nice arpeggiated guitar riff against the sound of the horn. The album is full of interesting and not-predictable chord progression changes, like the rising progression at the beginning of this song. Enter the full horn section. I’m loving the drums in these tracks. This song has a recurring nice melody. This song has more of a rock feel. Another instrumental track. I’m loving the interplay of the horns & guitar throughout this 7:24 minute piece.

The fourth song on the album is “Fighting Fires”. It starts with a nice guitar jazz chord vamp accompanied by horns. This song has vocals. They sit nicely on top of the mix. I’m having no issues with how the vocals are mixed, unlike some other recent reviews. This song has a Steely Dan type vibe. Lots of interesting chord changes in this song. I’m loving all the interesting guitar and keyboard chords being thrown into the mix. Very nice “warm” guitar solo about 4 minutes into the song. Very jazzy.

“After Hours” is the fifth song on the album. It kicks off with choral vocals, enter the bass and drums playing a simple melody line. This song has very tasteful female vocals against an ever changing guitar chord pattern. Very nice use of horns to spice up the changes. Interesting bridge in the middle. Nice jazzy trumpet solo towards the end of the song.

The sixth song on the album is “Beautiful Minds”. It begins with a nice acoustic guitar duet. Enter an electric lead guitar playing jazzy lines over the changes. Finally, the bass and drums enter. I’m loving this drummer. This song is also an instrumental. Sort of a slow movement in this song.

“Famous Last Words” kicks off with a lonely drum beat, enter the bass playing a single note drone. A lovely piano riff and horns enter the fray. This is a very somber sounding piece. The horns have a Brazilian sound. Another instrumental piece with a variety of chord changes. The band is very adept at throwing in jazz chords and turnarounds. I’m not digging this particular song. The end of the song gets more busy and interesting, and I love the lonely piano piece that ends the song.

“Quixote”. Slow chords. Enter the vocals singing an “oooh” “aaah” drone. Then the vocals kick in. The vocals sound fat. The song has interesting turns in the chords accompanying the vocals. “The Phoenix rises”. The song devolves into a very forward vocal with sparse instrumentation. Then enter a faster guitar vamp, louder vocals, with piano, bass, drums, and a keyboard. And we’re back to the vocal with sparse instrumentation. Finally the horns enter with a rising guitar motif. This song is 10:20, at 5 minutes into the song enters a lonely piano playing a beautiful piece, eventually joined by bass and drums. The sound of keys pounding and floating above the fray. Joined by a plucked acoustic guitar. Keyboard and electric guitar enter the song. The vocals soar nicely above the rest of the instruments at the end of the song, repeating “everything I ever dreamed of” …

The ninth song on the album is called “Wait A Minute” and is the only explicit song on the record. A stabbing electric guitar chord riff is joined by a very nice male vocalist. Arpeggiated electric lead guitar runs against a floating horn section. There is a cacophony of sound. I like the background vocals that enter the song in the middle. The instrumentation choices and interesting jazz-inspired chord changes against the horns and electric lead guitar playing single note lines make for a very enchanting sound. At the 4 minute mark the song changes drastically, almost like a brand new song.

The final song, “Non.” starts with what sounds almost like a child’s keyboard, joined soon by the electric lead guitar, then bass, then drums. I’m hearing a string section in the middle of this song, back to the solo child’s keyboard riff, enters a sparse electric guitar with accompanying chords. Very slow movement, then the horns enter an pick things up. Finally, at the 5 minute mark, background vocals enter the song “aaah”. The voices add a new instrument into the mix and provide a nice way to end the album.

Overall, I enjoyed the album, however, I find myself not particularly wanting to listen to this album again. While it was a nice first listen, I didn’t hear anything truly memorable, no big hooks, and no real emotion – other than providing a chill vibe. But there are a lot of really interesting jazz chord changes throughout the album, and the musicianship is first class.

SCORE/Excellent: The musical performances on this album are excellent, as is the mixing and mastering. This is a very atonal jazz album, not as much rock as I was expecting. But definitely jazz fusion. I do appreciate the effort that went in to this music composition. The musicianship and artistry is truly outstanding. Much love, Beth

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

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12 O’Clock Club is a new jazz project launched by Antonio Val, marking his entrance on the big scene once again with this three-track collection of singles. Never heard of them before?

Let me quickly introduce you to this contemporary jazz project from London, whose ambitions are to make waves in the scene with live recordings, new releases, and festival appearances in 2026. Originally, the project seemed like a remote collaboration between different artists; however, the numerous sessions with an outstanding cast truly elevated its significance—whether through the collaboration with multi-instrumentalist Lewis Taylor, slated for release in June–July 2025, or Val’s acceptance of mentorship inspiring him to switch to in-studio recording.

And after three remotely recorded singles, it was time:

Before that, Val took a decade-long hiatus from the music industry, focusing on family, life, and adrenaline-pumping activities like motor racing and skydiving—experiences that became the emotional foundation of his work. As he reflects, “There was something unresolved from the past—and I finally had something to say.” He continues, “These compositions are rooted in real life: joy, contradictions, grief, even parking tickets. It’s all in there.”

After such a quick rundown of the band’s history, I think we’re finally ready to dive into what 160 to Cairo presents—and from the very first listen, it feels absolutely cinematic.

The self-titled track “160 to Cairo” instantly immerses you in a grand soundscape, softly supported by illuminating instrumentals. With subtle orchestration and a steady growth from strings that smoothly transition into horns and other jazz-inherent accompaniment, 12 O’Clock Club demonstrates rhythmic perfection.

I absolutely love how improvisational yet intentional these tracks sound. On “160 to Cairo,” Val cascades from an epic brass section to a slower, more delicate passage. That mix of intention and fluidity makes listening almost kaleidoscopic.

In the next track, “The Document,” the artist continues dominating the free-form jazz vibe, adding a call-and-response structure that feels like a conversation between drums and those lush horns. Throughout my listening, I couldn’t help but notice how smooth and elegant it sounds.

Val highlights uplifting tones through a driving structure that easily mixes subtle psychedelia. It’s not just a regular jazz vibe echoing older legends; instead, he adds minimal touches that bring texture and sophistication.

The outro, “Classy Joint,” steps away from the free-flowing structure and driving sense of “The Document,” opting for a silkier, velvety tone. However, don’t get me wrong—12 O’Clock Club still builds tension effectively, especially after incorporating guitar, giving the track a balanced feel. While it nods to the head-bobbing structure of earlier tracks, it feels more like a resolution to a larger narrative.

I must say, after discovering this band, I’m absolutely in love with how Val creates and builds tension so effortlessly. Those jazzy extensions, with repeated, motif-driven bridges, present a richly melodic and stylistic sound.

Score/ Excellent: “160 to Cairo” offers a fresh take on jazz while retaining beloved elements of the classics. Its minimalism creates a brooding, grand atmosphere, previewing comforting melodies that feel hypnotic.

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

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To add on to his intriguing lore, he relocated to the Dallas, Texas area and quickly rose up to make his mark in the local music scene. He went on to perform 15 to 20 shows a month at luxury hotels, wineries, cocktail lounges and private events. His polished tone and melodic sensibility earned him a reputation as a standout performer within the region’s music circuit.

In June 2024, Randy Sloan released his debut single ‘It’s A Vibe‘, covered here on Music Review World. It absolutely captivated me as a listener of the genre, with its multidimensionality embedded into the track and its overall elevated feel. Other listeners felt the same way, as it was met with praise from streamers and fans as well. He then followed up with the sultry ballad ‘Nightlights‘, also featured here, fueled a winning streak with its competency and refreshing perspective, featuring the expressive piano stylings of Torrey Brown. Together, both singles have garnered close to 80,000 streams on multiple platforms and have even been featured on smooth jazz stations.

Perhaps third time’s the charm, as he returns with ‘Pop’s Bebop’, a track that promises to be vibrant and energetic, highlighting his melodic guitar work alongside Torrey Brown’s contributions, this time, on the trumpet and the keyboard.

This track starts off with a nostalgic tone, brandishing its intro with a sparkling electric piano and soothing guitar grooves. The song then picks up, with an existential sounding atmospheric drone in the background while the main instrumental of the song converges in a distinct groove. The tone of the guitar is quite apparent within the track, smooth-sailing and suave as ever. It goes through a journey of melodies and notes, exuding calmness but a little bit of sass and innovation as well.

The trumpets support the song with a lush fanfare, bringing the tone of the song up and brandishing it with a more sophisticated feel, adding more layers to the already potent instrumentation. Both Randy and Torrey’s solo segments within the instrumentation give the song a personal touch, before going back to the chorus segment. There are also synths placed strategically and panned interestingly in the midst of the song, definitely accentuating how ‘alive’ the song feels by bringing it out of a flat perception.

Once again, I can’t help but bare similarities to some of Trammell Starks’ work, in how the track comes off and how well-done the whole song is. There’s enough solos and improvisation to keep you hooked, all til the last measure of the song. The drums are also a key highlight of the song to me, in how crisp it is and how steady it keeps the pulse going. Might I also add that the song is very well-mastered, with none of the components out of place.

A very wonderfully made track, but it’s not unexpected, coming from Randy Sloan’s stellar streak.

Score/Excellent: ‘Pop’s Bebop’ is an excellent track that continues Randy Sloan’s legacy of wonderfully curated releases, full of improvs and solos to definitely capture your ear. The combination of the guitar and the trumpets in this song give it an otherwise lush feel, and it’s hard to deny the intersection of suaveness and poshness within the song.

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

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From the first strum of Strange Weather, Greig invites us to a sun-soaked coastline, weaving in laid-back, almost reggae-influenced guitar lines and lyrical images of love found in shared simplicity. It’s a song that feels as natural on the beach as bare feet in the sand; relaxing, warm, and full of earthly affection.

The album then shifts gently to That Photograph, a tune so steeped in 70s charm that you’d be forgiven for thinking it was uncovered from a dusty vinyl crate. Nature-based imagery once again surfaces, grounding the track in a timeless warmth, complete with smooth vocals that evoke the likes of early Paul Simon or America. It’s another slice of sonic sunshine.

But Common Ground doesn’t coast on cheeriness alone. Like Dominoes introduces a more cynical current, describing a cascade of misfortunes with metaphorical finesse. Greig’s Dylan-esque delivery, along with creative use of clapping and subtle sound effects, makes this one of the most musically daring and lyrically rich tracks on the album.

By the time we reach The Kerala Tango, the emotional landscape has darkened, ushering in a moodier, more sensual atmosphere. The nature references persist, now tinged with eroticism, while layered backing vocals elevate the song’s sense of intimacy. It’s the kind of track that begs for a cocktail and a slow sunset.

While It’s All Good doesn’t quite reach the lyrical or melodic heights of its neighbours, it’s still a pleasant entry in the album’s sequence, which is a testament to the overall strength of the record that even its weakest moment remains listenable and enjoyable.

Moonlight Serenade marks a return to optimism, framed through a more nocturnal jazz lens. With its mellow swing and romantic tones, it captures the magic of twilight with impressive elegance. This transition into night continues beautifully in Little Boat, a hushed, ocean-swept ballad made for quiet companionship beneath the stars. The inclusion of ocean sounds at the end of the track is a master stroke, anchoring the listener fully in the album’s immersive setting.

Finally, Must Be Bedtime acts as the perfect closer; a slow, lullaby-like wind down that feels like the natural conclusion to the emotional and sonic journey. With its elongated intro and gentle delivery, the track lulls the album, and the listener, into a state of peaceful rest.

Common Ground plays like a day in the life of someone seeking connection, warmth, and meaning. It begins in full sunlight and ends in moonlit reflection, tracing the arc of intimacy with grace and craft. It’s a record that shows off Greig’s range, his melodic intuition, lyrical sharpness, and deep reverence for classic songwriting, all while sounding undeniably his own.

Rating/Excellent  – A beautifully cohesive album that blends heart, intellect, and sonic diversity. Whether you’re watching the tide roll in or the moon rise above it, Common Ground has a song to carry you there.

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

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Liu is a jazz saxophonist with ECM-inspired improvisation, and he surrounds himself with an exceptional ensemble: drummer Francisco Mela, Eric Hofbauer on guitar, Harold Charon on the piano, bassist Ben Koh and the guzheng stylings of Hui Weng. Working together, this legendary group of people have created a soundscape where East meets West, not in opposition, but in harmony.

The opening track, Breathe, begins with an intense buildup that paves the way for its melodic core. The song itself creates vivid imagery for me, a moody underground jazz bar in Milan, martinis in hand, watching the world drift by. The piano enters like a conversation, adding depth and tenderness, before the guzheng elevates the piece into something transcendent. It’s Liu at his most elegant, orchestrating a connection between both cultures.

The title track is mischievous and bass-heavy, a slightly more upbeat cut that captures the EP’s conceptual centre: the tension of the immigrant experience in America. While perhaps not as emotionally affecting as Breathe, it plays an important role in the narrative that Liu is attempting to construct. A musical mirror held up to an anxious and fractured society.

In the third track in this EP, The Death of Yue Fei, Liu returns to the solemn tone that can be found in the opening track, an almost meditative space. It feels like a spiritual sibling to Breathe, but with an added layer of ominousness and historical gravitas. As the song continues, the mood gradually lifts, slightly shifting towards hope. This is perhaps a nod to the enduring spirit of its namesake, the Song dynasty general and folk hero Yue Fei, a patriotic national hero.

The final track in this beautifully constructed EP is Lotus, where Liu’s artistic vision reaches its most potent form. The influence of traditional Chinese instrumentation is unmistakable, and the track serves as the EP’s cultural heart. Where the other songs had light sprinklings of traditional Chinese inspirations, this is where it truly shines. “I connected the dots when I heard late Coltrane and the Guqin (古琴), an ancient Chinese instrument,” says Liu. “I realised both share a free, Zen-like quality. This EP is my way of exploring how those traditions can intersect in a world of globalisation, uncertainty, and self-discovery.” This approach created a mesmerising result, a zen space to focus on heritage, self-discovery and the beauty of blending cultures within music.

American Anxiety is a triumph of cross-cultural conversation and artistic vulnerability. Liu doesn’t just play jazz, he reinvents it, drawing on centuries old traditions and recreating them through the lens of a modern and globalised identity. The lack of lyrics doesn’t take away the ability to feel the emotions he was feeling himself while composing this EP. With bold melodic statements, rich emotional textures, and a line up of musicians who come together in perfect harmony, Zishi Liu has crafted one of the most thought provoking jazz releases of 2025.

Score/Excellent: Zishi Liu’s EP releases on June 1st and you don’t want to miss it! This EP is the perfect blend of modern jazz and traditional Chinese music, it’s unique and sweet on the ears.

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

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The post Zishi Liu – American Anxiety (EP Review) appeared first on Music Review World.

Crafted slowly over time, beginning during the quiet of the 2020 lockdown, Nothing Lasts Forever is steeped in personal history, introspection, and a clear passion for instrumental storytelling. Kneevers blends piano, electric guitar, modular synthesis, and saxophone into a fluid, emotive journey.

The album opens with 22 Degrees Below, a confident stride led by electric guitar and vocals that evoke classic 80s rock energy. The guitar solo is a standout; clean, expressive, and timeless. It’s a track that invites daily replay without losing its charm.

10,000 Feet In The Sky pushes into more atmospheric territory. With layered vocals and a synth driven melody, it feels like a dreamscape, futuristic yet retro, a sonic fit for a neon lit car chase through a rainy Hong Kong night.

Secrets Make The World Go Round leans into a slightly psychedelic jazz-rock space. The piano and guitar interplay brings to mind the expansive moods of Pink Floyd, with a message as simple as its title. The lyrics take a back seat here; the true voice of the song lies in the instruments.

Time Keeps Slippin By stands out as a clear favourite for me. While still lyrically minimal, it weaves together piano, saxophone, and layered arrangements in a way that feels deeply emotional and grounded. The saxophone, subtle yet essential, gently carries the track’s core.

If This Is A Movie shifts gears slightly. It’s hypnotic and meditative, though perhaps a touch repetitive. Nonetheless, it introduces listeners to a style not often heard in mainstream jazz-rock and may serve as a gateway for new fans of the genre.

I’m All Maxxed Out dips into a darker tonal space. It’s less impactful than previous tracks, feeling more like a transition piece. While not weak by any means, it doesn’t add new elements to the album’s palette. Waylaid Again fully embraces this darkness. Haunting and sparse, it’s a track best experienced in solitude, headphones on, lights off. It’s cinematic in the way it creates space and tension.

Finally, Nothing Lasts Forever, the title track, is a perfect encapsulation of the album’s spirit. With smooth jazz piano, modular synths, lyrical simplicity, and slick guitar lines, it distils everything Kneevers has been building toward. It’s a swirling, electric closing statement that’s both melancholic and hopeful.

Nothing Lasts Forever is more than an album; it’s a mosaic of sound and memory, stitched together with decades of musicianship. Kneevers isn’t trying to impress with flashy lyrics or trendy hooks. Instead, he creates a textured, mood driven journey where the instruments do the talking. It’s an album that rewards close listening and opens up more with each spin.

Score/Excellent: If you’re new to jazz fusion, progressive rock, or anything in between, this might just be your gateway. For longtime fans of the genre, it’s a refreshing return to musicianship over gimmick. Nothing lasts forever, but albums like this remind us why the music still matters while it does.

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

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The post 5 In The Sky – Nothing Lasts Forever (Album Review) appeared first on Music Review World.