It’s truly something how many phases Half Moon Bay’s EllaHarp, accompanied by The False Bottom Band, is able to run through in four and a half minutes’ worth of “Shotgun Sadie”, her latest single.

One listen to the latest offering from Anni Pohto, the appropriately titled “Deep”, and you’ll know just why she entitled this song as she did.

Leave it to Idiot Grins to mine a 1950’s country gospel record (yes, country gospel) and stumble on a hit record.

On Culture War, the latest Long Player from producer, singer, songwriter, (and most likely) guitarist Paul Maged, the music is loud, the lyrics are heavy, and the tempo for nearly 80 percent or more of the 10 tracks is swift.

Nashaat Salman’s Live it All My Way EP is refreshingly atypical for a sundry of reasons.

Never doubt the transporting power of music, as it may rear up at anytime, and in anyplace, in which one can readily conceive.

It’s a wonder what GNL Zamba and his producer Fly Tucker do when they decide to let the blaring electric guitars go for a minute or two on The Spear, the most recent long player from the rapper/singer/songwriter/spoken word artist.

It would be interesting to observe Metaspion, the single man producer/musician/artist otherwise known as Morten Richter, at work.

Deep into 2020, electronic music—real electronic music, that devoid of recorded vocals, which functions as a collection of instrumentals and might serenade you at a bar, a coffee shop, or perhaps at those discos that once dominated the larger part of Europe—is alive and kicking.

The crown piece of lo-fi bass music for quarantine, the most recent offering from Nick Campbell Destroys, is “Goodbye Moonmen”.

Not often, but sometimes, it’s possible for an artist—such as Vipid, coming out of sunny Southern California by way of the Midwest—to give away his whole agenda on a particular body of work merely by the titles.

“Windows”, the latest single from singer/songwriter/keyboardist/organist/guitarist jefff, is a lively, inspiring number.

As Dinah Washington might’ve said, what a difference a year makes. Can you believe it was just 2019 when Scotty Seed last graced the site of Breaking and Entering?

Shihori’s latest single, “Perfect Imperfection”, is big.

Pay the Man (When You Leave)”, the recently released second single from Lord Sonny the Unifier’s forthcoming Extended Player (dropping November 13 as a digital product), is a study in paradoxes in almost all ways that matter in a song.

The acoustic guitar, in all its myriad varieties, has a thousand voices, perhaps for each day. Mark Vickness seemingly speaks all of them with his stringed instrument.

Whatever else he indicates, displays, or reveals on his latest release, the EP the wall, David Thompson is an accomplished vocalist.

Is it possible to simultaneously be retro and contemporary, futuristic and dated?