“Even in the Dark” opens with a measured drum beat that slowly blossoms as electric guitar slips in. It’s a patient, steadily building start that quickly locks into a satisfying groove. The production is tight and polished, giving each instrument space while still keeping everything unified. Gawaski’s vocals are deep, resonant, and unmistakably rock-leaning, adding grit to the track’s almost 80s/90s shimmer. The repeated title phrase works as a simple but effective lyrical anchor, and the song’s danceable energy makes it an immediate standout.

“Running Away” softens the mood, starting with a slow electric guitar line that faintly recalls The Police. There’s an interesting tension between the guitar and the vocals, at times they feel slightly at odds, but that friction creates a kind of emotional wobble that fits the song’s vulnerable tone. Layered vocal harmonies, especially the blend of deep and airy voices, add welcome depth. With its 50s-tinged sway and echoes of a classic diner slow jam or an 80s rom-com moment, the track feels purposefully nostalgic. The lyrics are personal and exposed, and the production remains consistently well executed.

“Tainted World” leans heaviest into its retro influences, anchored by synth textures that channel pure 80s atmosphere. The guitar, sharper, almost reminiscent of early Metallica, cuts nicely through the haze, giving the track bite. The long intro builds tension effectively, though the song ultimately lands with slightly less impact than the earlier tracks. Even so, it’s well arranged, well produced, and its straightforward lyrics sketch a clear, simple story.

The EP closes with its title track, “Kakorrhaphiophobia,” a bold and unexpected shift into pure sound design. There are no instruments in the traditional sense, no melody, no lyrics, only a droning, unsettling ambience that evokes unease and disorientation. Given the title’s meaning, the fear of failure, the track plays more like an atmospheric art piece than a song, ending the EP not with resolution but with tension suspended in midair. It’s a strange way to close, but undeniably daring.

Taken as a whole, Kakorrhaphiophobia captures Deaf Locust in a moment of creative renewal, unafraid to experiment, unafraid to lean into emotion over virtuosity, and unafraid to end on a whisper rather than a roar. It’s a concise but compelling glimpse into where Gawaski’s revived musical instincts might lead next.

SCORE / Excellent – Taken together, the EP feels like an artist reclaiming his creative voice and intentionally steering it into unexplored territory. Kakorrhaphiophobia aims for honesty, and in doing so, proves that a project this fearless can’t possibly fail.

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South Skunk Beach starts with a bass slide into a blues shuffle rhythm with the lead guitarist sailing over the top. Eventually, the vocals kick in. The singer has a voice similar to George Thorogood. The band reminds me of a good local band down at your local blues and beer bar in your neighborhood. The cymbals are all over the track, which is why I prefer toms to cymbals, but that’s just me. The lead guitar player is good but not great, but is adding pleasant leads into the mix. Very George Thorogood.

Tell Me starts with a downward walking riff, which becomes the main motif of the song. I’m getting a Clash vibe, which is cool. Eventually, the chorus kicks in and throws some interesting chord changes into the mix. Cool song. I’m liking the lyrics to this song.

Not Even Superman Can Save Us Now starts with a rising chord change. This song is explicit. Funny and thought-provoking lyrics in this one. I like the superhero theme of the music itself. These guys are your good local bar band. “The Lone Ranger can’t even find his horse.” I like the single-note riff in the bridge. I like the tone of the lead guitar on this song. A powerful song on the album.

Good Times Are Comin’ has a main riff that is a cajun zydeco stop riff motif. The song structure makes the track sound a little dated.

Where Did It All Go Wrong? Starts with a drum fill into a cool guitar riff. I’m liking the tone of the lead guitar on this one. Eventually, the vocals kick in. The singer definitely reminds me of George Thorogood. So do the riffs. A song, lyrically, about a lost love/friendship, “where did it all go wrong?”

Escape From Reality starts with a softer falling arpeggiated guitar motif. A nice interlude. Then come the pounding guitars and drums. I hear a slide. For some weird reason, this song reminds me of music from The Rocky Horror Picture Show, which is apparently my go-to “escape from reality” LOL. I like the heavier guitar sounds in this song. I personally think the arrangement and vocal parts are a bit hokey, maybe too on the nose.

Victor LaDuke. I like the guitar riff that starts this song and the sound of the lead guitar in the mix. Again, the vocals are very George Thorogood. I like the arrangement for this song. Liking the lead guitar solo in the bridge and the very heavy sound of the guitars. A tale about Victor LaDuke and his drinking problems and love of demolition.

Ridin’ The Growlin’ Demon starts with what sounds like a guitar riff in D. I’m guessing the guitars may be tuned down a full step. I like the vocals and lyrics in this one. I’m digging the slide guitar all over this track. And, come on now, who doesn’t love demons? A tasty end to a nice album.

SCORE/Good: Moe Green & The Dive Bar Juicers deliver a solid blues-rock based album full of fun songs played by your favorite local blues band down at your neighborhood bar. A fun listen. You are required to drink a pint while listening to this album. Much love, Beth

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

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From the very first listen, it’s clear that this album has been mixed and produced with great care. The production quality is crisp and full-bodied, allowing each layer, whether it’s a trembling vocal, a steady acoustic rhythm, or a deep electronic bassline, to occupy its own space. The result is a soundscape that feels both intimate and cinematic. While there are moments where the audio takes on a slightly odd echo or resonance, these are rare and do little to detract from the overall listening experience. If anything, they serve as reminders that this is an album unafraid of experimentation.

The musicianship throughout is exceptional. L O V E I T V I O L E T and Johnny Sanders clearly understand how to build a dynamic record that highlights the strengths of each performer. The vocal performances, in particular, are a highlight, emotive, technically skilled, and filled with character. The instrumental arrangements, too, show impressive range: from acoustic ballads to high-energy electronic tracks, the artists manage to shift genres effortlessly without losing their distinctive creative identity.

“WILL? II” is an early standout, led by a trembling yet powerful female vocal performance that strikes a balance between vulnerability and confidence. It’s a song that immediately draws listeners in, both beautiful and irresistibly catchy. “TRUST THIS” pushes boundaries with its fusion of rap, piano, viola, bass, and classical acoustic guitar, a daring mix that somehow feels natural in this album’s world. The interplay between classical and modern textures here is particularly striking, proof of the group’s fearless approach to composition.

The middle section of the album slows the pace with “A DIRT ROAD” and “TIMOTHY OVER TIME,” both of which lean into the warmth and simplicity of folk balladry. Gentle acoustic guitars carry the melodies, while soft vocals and introspective lyrics create a sense of calm reflection. These tracks provide a welcome emotional breather, showing that the group’s strength isn’t limited to energy and innovation; they can just as easily move the listener with restraint and sincerity.

Then comes the title track, “LIGHTNING DRIVE,” a high-voltage electro-pop anthem that feels like the album’s centrepiece. Heavy drums, pulsing bass, and electric guitar riffs come together to form a track that’s both explosive and meticulously crafted. It’s the kind of song that captures the spirit of the entire project: daring, dynamic, and deeply satisfying.

What truly ties Lightning Drive together is its sense of balance. For every slow, meditative song, there’s a fast, rhythmically charged counterpart. The shifts in tempo and tone feel intentional, reflecting the album’s broader exploration of human emotion and creative freedom. Despite its constant evolution from one style to another, the album never loses focus, a rare achievement for a project that spans so many genres.

Lyrically, the record is equally strong. The writing feels personal and introspective without ever being self-indulgent. Themes of trust, change, memory, and connection run throughout, lending emotional weight to the music’s diversity. The lyrics often mirror the music’s unpredictability, sometimes direct and heartfelt, other times abstract and poetic.

In the end, Lightning Drive stands as a testament to what can happen when artists refuse to limit themselves. L O V E I T V I O L E T and Johnny Sanders have crafted a record that embraces contrast: soft and loud, acoustic and electronic, traditional and experimental. While the album isn’t without its minor flaws, occasional echoing or uneven mixing moments, it shines in its creativity, sincerity, and sheer musical talent.

Listen to the album here.

SCORE / Outstanding – Lightning Drive is an adventurous, beautifully produced, and emotionally rich album that celebrates the art of musical exploration. It’s a record that rewards repeat listens, revealing new details and textures each time. A stunning showcase of versatility, heart, and fearless artistry from L O V E I T V I O L E T and Johnny Sanders.

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This concerns the artist Bobby Treacle’s Cartel and the release of his fourth studio album, titled ‘The Peacock King’.

In its conception, The Peacock King first came to the artist from a moment captured on Whitstable Beach in Kent, back in 2016 on the eve of his son turning 3 years old. This precious moment, captured in an image, is also the album cover, as the artist says it it perfectly captures the vibe and the sound of the record- an ode to innocence and self-belief.

The artist also mentions that when he thinks about The Peacock King as a whole he sees it as a moment captured in time and also as closure. Most literally, through a half-finished project from over eight years ago, but also on a much bigger time perspective.

Some of these songs on the release date back to the early 2010s, with the artist writing brand new lyrics over these songs. Since they’re more than 15 years old, revisiting these tracks and writing new lyrics to them feels like the artist is exchanging ideas with his younger self.

The process of making The Peacock King was also described as a labour of love in every sense of the word with nine new recordings that the artist is extremely proud of. The record was co-produced and recorded by Phil Dearing, who helped bring the record to life with amazing patience and guidance. The LP will also be available to stream, download and also be available in traditional formats like vinyl and CD.

The project in its entirely possesses a distinct indie-rock sensibility to it, with a strong acoustic nature to it. Even though the instrumentation within the release is fairly organic without much regard for too much synthesis or sound design, it has a presence through the decent mastering and the general emotional tone and intensity within the instruments. The artist’s vocal tone definitely fits the genre that the album primarily consists of, with a tender and homely voice that will surely tug on someone’s heartstrings and make them relate to the songs and reminisce as well.

In a sense, I do feel like people who are used to artists like The Smiths and Death Cab for Cutie with a bit of Tears for Fears mixed into it would truly enjoy the album. Tracks like ‘St Louie’s House’ possess an alternative 90s rock feel to it with a strong capacity for audiences to sing along to it, while tracks like ‘Endless Life’ would definitely put you in the mind of being in the passenger’s seat of a vehicle, staring out into the world and contemplating. It has a direct, logical train of emotions that it explores, making it somewhat predictable, but earnest at the same time.

The instruments are played with so much gusto and passion throughout the album that it can sincerely be felt, and that’s one of the strongest parts of the album. It is not fake and inauthentic at all. It is distinctively earnest and heartwarming, with the lyricism and the timbre of the instruments truly making me feel warm inside- with a bit of holisticness as the instrumentation possesses deep motivic variation embedded into its compositions, just mastered lower so that there can be a dynamic ‘3-dimensional’ feel within the recordings.

As much as the whole record gets predictable, I think the quality of the songs are extremely lush and all-encompassing. It doesn’t need rapid evolution or genre-hopping to engage its audience. One of the most impressive songs on this record is ‘In Waves and Rushes’, with its slight ambient and deep mastering. It’s an album to relate to, it’s an album to relate to, it’s an album to contemplate to, it’s an album that you can put your headphones on to and forget about your troubles in the world. A magical piece of art.

SCORE/Excellent: The Peacock King is an album that’s positively deceiving, appearing humble in its conception but actually has the capacity to totally suck you in and be entirely engaging. It is a warm, contemplative body of art that shines in its strengths.

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At 67, the artist continues a chapter in music with a song that showcases both technical skill and emotional sincerity. The production and mix are impressively clean, balanced, warm, and professionally handled. Every layer sits comfortably in the mix, from the soulful vocals to the piano that quietly steals the spotlight. The pianist’s touch is especially notable, carrying much of the song’s heart and texture.

The female lead vocalist deserves high praise; her delivery is confident yet tender, with a voice that carries both conviction and compassion. She navigates the melody with ease and grace, lending authenticity to the song’s message about faith and perseverance.

Lyrically, however, “I WOULDN’T LIE” is a bit of a mixed bag. The song’s Christian themes, references to “the Lord” and “walking on water”, are heartfelt but occasionally veer into simplicity or confusion. Lines like “I’ve made a lot of mistakes, mistakes quit making me” sound catchy but don’t quite hold up under closer examination. The message is genuine, but the words sometimes feel more improvised than crafted.

That said, what the lyrics lack in polish, the musicianship makes up for in abundance. The instrumental interplay and overall arrangement show a level of experience and understanding that only comes from years in the craft. The audio balance and volume are spot-on, ensuring the song’s emotional core shines through without being overproduced.

SCORE / Excellent – In the end, “I WOULDN’T LIE” feels like a sincere, heartfelt song from an artist who’s spent their time making music that matters. It’s not perfect lyrically, but it’s honest, skillfully played, and full of soul.”

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The arrangement builds gradually, and it takes a moment before the falsetto vocals finally kick in. Matt DeAngelis’s vocals immediately bring Elton John to mind, which is no surprise given that the iconic singer is one of his acknowledged influences.

Later on, a slightly crunchy electric guitar enters, soon joined by fast-paced, driving drums.

Lyrically, ‘Livin’ It’ meditates on time, loss, and the erosion of ideals. Beneath its anthemic tone lies a yearning for innocence and authenticity. Matt DeAngelis suggests that to survive the world’s disillusionments, one must live deliberately – not by denying change, but by inhabiting it fully, and doing that through God, for example.

Matt DeAngelis writes that he conceived the song during the pandemic.

SCORE/Excellent: The layered arrangement speaks to artistic determination. Matt DeAngelis here has realized his progressive goal. While the progressive instrumentation successfully creates a compelling, cinematic soundscape, one wonders if a more pared-down arrangement might have better showcased the sheer beauty and clarity of DeAngelis’s vocal performance.

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The production across Me Then You is consistently sharp and deliberate. Hashemian clearly knows his way around a studio, weaving shimmering guitar tones, warm basslines, and tight percussion into an airy yet grounded soundscape. Each track feels meticulously mixed, allowing subtle details, like background synth flourishes and harmonics, to emerge naturally. There’s a summer brightness to the record’s overall sound, with upbeat rhythms and light, breezy instrumentals reminiscent of Vampire Weekend or early Phoenix. Yet, beneath the sunshine lies a moody introspection that occasionally evokes Radiohead’s more pensive moments. Songs like “Everything” and “I Knew” demonstrate Hashemian’s ability to build atmosphere gradually, while others like “Time Is Right” and “Work It Out” channel danceable grooves that feel spontaneous but carefully arranged. The one slight drawback is that a few tracks seem to flirt with a climactic “drop” that never quite arrives, an intentional restraint that may divide listeners but ultimately aligns with the album’s meditative tone.

Lyrically, Hashemian opts for simplicity and sincerity over complexity. His writing doesn’t aim to dazzle with poetic ambiguity; instead, it resonates through repetition and emotional accessibility. Lines like “I just want to be with you” and “There’s nowhere you can go, but through it” stand out for their directness and universal relatability. This approach suits the album’s conceptual thread, a longing for connection and the pursuit of love and understanding in a fractured world. Even when the lyrics veer toward the minimal, their placement and phrasing lend them a hypnotic quality that complements the lush arrangements. The recurring motifs of sunlight, friendship, and resilience give Me Then You a throughline that feels cohesive without being overbearing.

Vocally, Hashemian leans into a tone that carries both warmth and melancholy. His voice sits deep in the mix, resonant and unpretentious, often drawing comparisons to Thom Yorke in its slightly detached yet emotive delivery. On more energetic tracks like “Me Then You” and “One You Want,” his vocals lift with the rhythm, blending seamlessly into the buoyant production. On slower songs such as “Only You” and “When It’s Over,” his restraint adds a soulful gravity that underscores the album’s reflective moments. His phrasing feels natural, never forced, and while he doesn’t always push for vocal showmanship, that restraint works in his favour; the emotional weight comes from texture and tone rather than power.

Musically, Me Then You is built around guitar-driven melodies that balance simplicity with precision. Hashemian’s instrumental instincts are strong; the guitar work feels fluid and intuitive, while the rhythmic sections stay tight without overshadowing the vocals. He plays like someone who knows when not to play, each note and strum has intent. His blend of alternative rock, light funk grooves, and dream pop textures gives the album a modern yet nostalgic quality. There’s a clear lineage from mid-2010s indie acts, but Hashemian brings a personal touch, particularly in how he fuses electronic undertones into organic arrangements. The final track, “You Got It,” marks a stylistic departure, venturing into dance and electronic territory. Its club-like beat and nostalgic shimmer make it feel like both an outlier and a fitting coda, a reminder that Hashemian’s creative boundaries are far from fixed.

Taken as a whole, Me Then You is a vibrant and thoughtful record that finds strength in cohesion rather than experimentation. While some tracks blur together stylistically, that uniformity feels intentional; it’s part of the album’s conceptual arc. Hashemian isn’t trying to reinvent indie rock; he’s refining it, filtering its familiar sounds through his own emotional lens. The result is an album that feels timeless in mood and sincere in execution, Radiohead meets Vampire Weekend, but grounded in Hashemian’s own introspective California soul.

SCORE / Excellent – Me Then You ultimately feels like the work of an artist fully at ease with his craft, confident enough to let mood and melody carry the story rather than force grandeur. It’s a sun-drenched, quietly emotional journey that rewards both casual listeners and those willing to sit with its subtleties, proving that Ehson Hashemian’s best work may still be ahead of him.

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

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From its opening moments, the tone is carefully set. The record eases the listener in with soft harmonising vocals and instruments that slowly fade into view. There’s a patient kind of confidence in this beginning; it doesn’t rush to grab your attention but instead invites you into its atmosphere. The mix is smooth, the instrumentation balanced, and there’s a clarity in the vocals that immediately signals both technical skill and emotional honesty. Even early on, the record feels calm yet powerful, grounded but expansive.

As the album unfolds, its range becomes apparent. Percussion-driven tracks build from sparse drum patterns into layered, rhythmically intricate grooves, blending influences from Afrobeat and world music with a distinctly Americana heart. The addition of whistles and hand percussion gives the songs a vibrant pulse, while the raspy lead vocals deliver joy and grit in equal measure. There’s a lived-in quality to the performances, something imperfect but real, like a musician grinning mid-take. Backing vocals and subtle overdubs add warmth and movement, creating a sense of community in the sound.

When the record shifts toward its folk and blues core, it becomes even more intimate. You can feel the wood of the guitar, the space in the room, the breath between lines. The writing here is storytelling at its most distilled, songs about people, loss, and place. Lyrically, HERCULANEUM thrives on small details: lilies that don’t wake, hardware stores with ghosts in their aisles, redhead kids in quiet cafés. These aren’t abstract metaphors; they’re specific images that linger, grounding the emotional weight of each track in tangible moments. The vocal delivery in these songs is deeply affecting, personal, soulful, and at times raw enough to feel like a confession.

One of the album’s most fascinating strengths is its sense of duality. It’s both deeply nostalgic and forward-thinking. There are tracks that evoke Appalachian front porches and others that belong in crowded city clubs. The seamless move from acoustic folk ballads to electric, stadium-ready rock feels intentional, a statement about how wide the American songbook can stretch when handled with respect and imagination. The introduction of electric guitars midway through the record injects a burst of energy, echoing classic rock and soul influences. The lead vocals rise to match this shift, drawing comparisons to Robert Plant in their intensity and range. It’s not imitation, it’s reverence filtered through originality.

Moments of experimentation punctuate the record without breaking its flow. A jazz-inflected spoken-word piece emerges near the album’s end, complete with saxophone, vibraphone, and cello, merging beat poetry with smoky, cinematic soundscapes. Elsewhere, a track built on East Coast rap flow paired with saxophone feels effortless and surprising, a combination that shouldn’t work as well as it does. These stylistic shifts don’t feel like detours but rather like discoveries, as if the artists are exploring every sonic alley their journey leads them down.

Production-wise, HERCULANEUM is consistently strong. The mix allows every instrument to breathe; acoustic strings retain their resonance, basslines pulse gently without overwhelming, and percussion sits perfectly in the pocket. The record avoids the pitfalls of overproduction; no track feels compressed or digitally sterile. Instead, it captures that elusive “live room” energy: the sound of real musicians interacting, adjusting, responding to one another. It’s especially noticeable in the dynamic arcs of the songs, how they rise and fall naturally, like waves.

Emotionally, the album covers a full spectrum: joy, melancholy, reflection, and resilience. Some tracks feel like wide-open fields at sunrise, others like the dim interior of a bar at last call. There’s a sense of time passing throughout the record, not just through lyrics but through sound. The slower, quieter songs often feel like pauses between larger movements, allowing the listener to sit with the weight of what’s been said before moving on.

Thematically, HERCULANEUM carries a fascination with memory, place, and transformation. It’s an album about the spaces we occupy, both physical and emotional, and the people who inhabit them with us. The recurring focus on names, towns, and imagery rooted in specific geographies gives the project an almost cinematic realism. At the same time, there’s a universality in its sentiment. Whether it’s the longing in a blues refrain or the steady optimism of an Afrobeat rhythm, the emotional core remains relatable and sincere.

By its close, HERCULANEUM feels like a full journey, one that begins softly, grows wild, and ends contemplatively. It’s an album that rewards patient listening, the kind you play all the way through rather than in shuffled fragments. Every stylistic turn feels earned, every lyric intentional. L O V E I T V I O L E T and John W. Sanders demonstrate not just musicianship but storytelling mastery, the ability to make every instrument, every pause, every breath serve a narrative purpose.

In the end, HERCULANEUM is more than a genre experiment; it’s a statement of artistic identity. It captures the essence of modern Americana while daring to stretch its edges. It’s soulful, unpredictable, and quietly monumental, a work that doesn’t shout its brilliance but reveals it, piece by piece, with every listen.

SCORE / Excellent – A beautifully constructed, emotionally resonant record that bridges tradition and innovation. HERCULANEUM feels like a love letter to storytelling itself, crafted with care, played with heart, and destined to linger.

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

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This story begins with two individuals. First, Daniel Pretzer. He grew up in Scranton, North Dakota, a small town and the hometown of singer Kat Perkins. He played trumpet in school band but was drawn to rock music, citing Pink Floyd, The Beatles, Tame Impala, and Spoon as major influences. This led to him teaching himself guitar effects and pedal-based sounds, as well as drums, by practicing on his school’s kit.

The second individual is Adam Maragos, who grew up in Bismarck and discovered music at a young age. He studied jazz guitar in school as a way to deepen his understanding of music and technique, while his taste leaned more towards rock acts like The Hives, Jet, The White Stripes, and The Black Keys. In high school he formed a rock band that won a local ‘Battle of the Bands’. He’s known for writing memorable melodies and layered, sophisticated guitar parts.

Long long ago, in the year 2014, they converged by meeting at Bismarck State College. Adam was studying Digital Audio Production and Daniel was studying Information Technology. They were introduced through classmates and quickly became friends, bonding over music, video games, frisbee golf, longboarding and late night hangouts. They were also regulars at Rhythm Records, a local record store and music venue in Bismarck owned by Richard Loewen. Loewen, a longtime fixture in the scene who played in bands such as Boreal Gardens and Kids with Beards then served as an inspiration and connection to the local music community.

This then led to Adam forming the band ‘Clashic’ in 2015 with Daniel frequently filling in on bass, drums and guitar. Adam then graduated in 2017 and moved to Minneapolis, leading to Clashic’s dissolvement. He then went on to form a two-piece project called Young Cosmo.

Daniel on the other hand, completed his bachelor’s degree in 2019 while remaining in Bismarck and spending most of his time in the college music department. He played guitar and bass in the jazz band, joined the guitar ensemble, sang in choir and men’s ensemble, and performed in the pit for musical productions including Rent, Mamma Mia and Heather. He played guitar in Hang on Marjorie, bass in The Great Scott Sound Salon, and regularly played for church services. He generally balanced a part-time job and full-time IT studies while intentionally getting as many musical reps as possible across styles.

However, things changed in 2020 when the pandemic halted touring and in-person events. Rhythm Records faced a change in ownership and temporarily closed, and Adam moved back to Bismarck from Minneapolis in September 2020 after a period of unrest in Minneapolis that disrupted daily life and local venues. A year passed, and Daniel and Adam resumed talking about playing together and launched a Twitch channel where they livestreamed improvisational jams with Adam on guitar and Daniel on drums. They soon decided to write music together again, and rented a rehearsal space in Mandan.

Also, their early improv sessions revealed that old approaches no longer fit. Both had grown as players and people, so they adapted their process. Writing shifted from freeform jamming to focused songwriting sessions with two acoustic guitars, each bringing riffs, chord progressions, and fully formed ideas to develop into songs.

After overcoming a prolonged period of writer’s block, the two of them began writing the songs that would become the album that we’re going to review today, titled ‘Keep Running’. Their process was deliberate: build the song’s skeleton on acoustic guitar: the melody, lyrics, and chord progression, and then move into the rehearsal room with drums and electric guitar to work out full arrangements.

Adam then recruited Richard Loewen, whom he knew and was mentioned before, to join the project. His presence boosted the sessions, with him quickly being a creative force in these sessions, contributing to arrangements and songwriting. After two to three months of writing and rehearsing as a trio, they booked their first shows.

Their debut performance then debuted on June 16, 2022 at Rhythm Records under the name ‘greyscale’. They shared that bill with Cold Sweat and the frontman of Hiahli. Two days later they played MoonFest III, a festival run by friends called the MoonCats. Early setlits featured five-song sets with early versions of songs like ‘Take It Slow’, ‘Million Miles’, ‘Sleep It Off’, ‘Tidal Waves’ and ‘Doesn’t Matter’.

Over the rest of 2022 they then played in more festivals and venues, writing three new originals and adopting one of Richard’s songs. Sometime in September 2022 they faced a conundrum, having discovered that many other acts were using the name ‘Greyscale’ or ‘Grayscale’ To avoid confusion and improve their chances of being discovered, they rebranded to ‘Avantide’. It is an invented word chosen for its uniqueness and ease of search.

We fast-forward to July 5th 2024, the official release date of Keep Running, featuring nine original songs. The producer of the album, Tyler Pilot, was very satisfied with the finished record. The album earned positive coverage from online blogs such as The Pentatonic and Obscure Sound and appeared on Rhythm Records’ best-selling list in Bismarck.

The album is a collection of dreamy and consistent indie-rock tracks that definitely do echo the specific sound characterising most indie music produced and conceptualised within the years of 2014 to 2018. This sound is not necessarily edgy, but retains the slight edge that comes with the technicalities of rock music. It’s almost like a neo-Morrissey, but I’m sure people within this genre would argue that it is its own thing. Listening to this, it’s hard to not bring up artists like Sondre Lerche and Stopgap, which have all used similar systems in their conception: a vocalist that oscillates between clarity and yearning, all with the twang of ‘dream’, with slight intensity brewing as the song progresses, and certain percussive patterns.

As much as the guitars try to add some sort of motivic variation within the tracks through solos, I have to say that unfortunately a lot of the structures and the syncopation used in these songs are really predictable, especially within this genre. That’s really my biggest critique of this genre, it’s 2025 and I don’t think any new techniques are used or fused to generate some sort of innovation. However, everyone’s not looking for some new hashing of sounds, and familiarity is a wonderful and beautiful tool that can be used to one’s advantage to revisit feelings that you want to feel over and over again. That I think is the beauty of the album.

Another thing I do have to commend is the chord structure and the production within this album. The chords used within all of the songs have an interesting set-up that do present these songs like stories, and that can keep you engaged. The production within this album also helps to elevate the feeling, with each element optimised to its potential and nothing truly ‘watered’ down. Every beat, every note is really clear. In some instances I can also hear a bit of noise rock influence, which can help drive the predictability factor away and provide the songs with more dimension.

Otherwise, if you’re already a fan of indie rock with soft grooves and sometimes venturing even in surf rock territory, with strong hooks and dreaminess weaved into each measure. ‘Keep Running’ is definitely the album for you. It’s a great testament to what has already worked within the genre, with strong intent behind each of these songs.

SCORE/Good – In the culmination of ideas, collaboration and all that has fuelled this act, Avantide delivers with ‘Keep Running’, filled with very classic indie and alternative rock tracks that play the act of balancing ethereal and dreamy tones with the sensibility and impulse of strong electronic guitar melodies. It is a very well-mastered body of work and has a high level of consistency as well. Even though it is not necessarily innovative, I think it is and can be even more of a cult favourite.

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

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Rather than relying on flashy production or radio polish, Gossart builds his world through atmosphere and authenticity. Recorded at Sound Cellar Studios in New York and produced by Billy Ryan of RyanBros Music, the album embraces its imperfections, the occasional echo on the vocals, the raw textures of the guitars, as extensions of its emotional truth. These elements give Thief on the Left an unfiltered, almost documentary feel, as though each song were captured in the moment it was first confessed.

Throughout the album, Gossart explores the uneasy terrain of memory, trauma, and redemption. His experiences as a veteran and father infuse the record with a sense of gravity that never feels forced or performative. Instead, he writes like someone reckoning with his past in real time, searching for grace in the ruins. The album’s title, a reference to Gestas, the impenitent thief crucified beside Jesus, hints at the central tension of the project: between guilt and forgiveness, defiance and surrender, sin and understanding.

Musically, Thief on the Left traverses an impressive emotional range. The folk and Americana foundations are sturdy, anchored by fingerpicked guitars, steady percussion, and occasional harmonica, but Gossart often blurs genre lines. Some tracks shimmer with an 80s-inspired pulse; others carry the grit of 70s classic rock or the meditative hush of modern alt-folk. These stylistic shifts never feel disjointed; rather, they mirror the complexity of the themes he’s exploring. Each sonic turn feels deliberate, reflecting the shifting moods of introspection, anger, regret, and fleeting hope.

One of Gossart’s great strengths lies in his lyricism. His writing is unpretentious yet poetic, rich in self-awareness and detail. His words carry the weary cadence of lived experience, fragments of confession, apology, and reflection stitched together by careful phrasing. There’s a recurring sense of someone looking backwards, not to romanticise the past but to confront it head-on. That honesty, even when uncomfortable, gives the album its resonance.

The production often highlights Gossart’s voice in its rawest form, sometimes weathered, sometimes fragile, but always sincere. While the occasional echo or uneven mix might suggest a rough edge, these imperfections lend the songs a sense of proximity, as if the listener were sitting just a few feet away. This intimacy is where Thief on the Left thrives: it’s not meant to impress from a distance but to connect up close.

As a full statement, Thief on the Left feels like both a reckoning and a release. It’s a record born from lived experience, from war zones to quiet living rooms, and it carries that weight in every note. Gossart doesn’t offer easy answers or neat resolutions; instead, he presents a portrait of survival and self-awareness that’s as vulnerable as it is courageous.

In an era saturated with overproduced sincerity, Thief on the Left stands out precisely because it doesn’t hide its scars. It’s raw, reflective, and deeply human, an album that invites listeners to sit with their own imperfections and find beauty in the unpolished truth. For fans of Gregory Alan Isakov, Jason Isbell, or Noah Gundersen, John Gossart’s debut marks the arrival of a compelling new voice in the alternative-folk landscape, one that lingers long after the last chord fades.

SCORE / Good – Gossart doesn’t just tell stories; he opens wounds and lets the listener see what’s underneath. It’s a brave, beautifully unvarnished collection that cements him as a songwriter unafraid to face the darker corners of himself, and to turn them into something deeply, powerfully human. However, it does also have its own faults. Give it a listen!

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

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