Damon and Naomi
False Beats and True Hearts
(20/20/20)
Currently celebrating 25 years of performing together, former Galaxie 500 rhythm section members Damon Krukowski and Naomi Young offer their seventh studio album. Though one foot remains rooted in the past, the two seem to know they can’t rely on their back catalogue forever. Here they craft an intimate song cycle that exudes maturity without losing the innocence that endeared them to audiences. Also featuring guitarist Michio Kurihara and horn sections, this release has undertones of optimism even though many tracks retain a hushed delivery and languid pace. “And You Are There” marches along confidently on Young’s piano and Krukowski’s acoustic guitar, but ends softly, letting the climax fade. Unfortunately, the overall mix may be hard to penetrate at first. Repeat listens bring added clarity. —Michael Cimaomo
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Asia Mei
Introverse
(No Box Music)
Singer/songwriter and pianist Asia Mei welcomes you to her “introverse” with a series of mournful jazz songs. Mei draws her so-called “moody piano rock” from her background—the Northampton resident was born in Russia and grew up in turbulent 1990s Jerusalem. Mei’s voice is perfectly suited to the piano music it accompanies. Her voice has the tinkling softness of a music box (“I Fall”), showing greater vocal depth on songs like “Saved” and “Big Apple Tree.” The songs on Introverse weave between jazz, rock, classical, and indie styles, but are held together by their common themes of loneliness and social disconnection. The heavy piano music and introspective lyrics recall artists like Regina Spektor and Tori Amos. Her lyrics are simple and emotive, little verses of poetry set to accompany a beautiful backdrop of piano and string arrangements. —Rachel Dougherty
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Suzy Bogguss
American Folk Songbook
(Loyal Dutchess)
Suzy Bogguss is looking to the past these days—not to the days when she was country music’s ing?nue du jour, but to glorious songs of yesteryear. American Folk Songbook comprises 17 chestnuts plucked from the American standards bag. You’ve heard them all a billion times, but Bogguss will make you feel like “Shady Grove,” “Erie Canal,” “Wayfaring Stranger” and others like them are as fresh as a “Wildwood Flower.” Speaking of the last, you’d better have the chops to do a song that everyone in America associates with either the Carter Family or Joan Baez. Have no fear—Bogguss uses controlled vibrato to stun and soothe. Like the person fully in command of her craft that she is, Bogguss presents each song as if she’s merely the conduit connecting the past to the present. This album should receive serious attention for a Grammy. —Rob Weir
