Alec Berlin - Man's Best Friend
The latest album by Alec Berlin, "Man's Best Friend," is an impressive display of instrumental guitar-based hard rock, with jazz influences. Berlin's new release features several tracks thatare hard-hitting instrumental numbers. However, I was particularly drawn to the album's title track, "Man's Best Friend," which stands out as one of the album's most exceptional compositions. "Man's Best Friend" opens with a captivating acoustic guitar rhythm, which is a departure from Berlin's usual style. The energy gradually increases as the electric guitar joins in, leading the listener on a wild ride through a progressive universe with veils from the 80s. The bridge around 2.45 minutes introduces jazz elements, adding another layer of complexity to the already intricate track. What I particularly enjoyed about "Man's Best Friend" is how Berlin manages to create a coherent musical progression while including a diverse range of influences. Just when you think you have the song under control, there is a moment of ecstasy and chaotic joy that puts you in a good mood. It's like when a dog runs in the park after the flies - a moment of pure freedom and joy. Overall, "Man's Best Friend" is an excellent showcase of Alec Berlin's compositional skills and musical vision. The album as a whole is instrumental guitar-based hard rock with elements of jazz incorporated into certain segments. With standout tracks like "LaNoise," "Minir Maad," and "Beat Confabulator," at 50 minutes in length, the album features 11 songs, with the title track opening the album and "ROYGBIV" closing it. Alec Berlin has created a diverse landscape of sonic utopia As I listened to "Man's Best Friend," I couldn't help but think that the album would fit well into the soundtrack of a diverse range of movies. Both Adventure films like "Jumanji" and action movies like "The Matrix." The album's fusion of hard rock, jazz, and 80s synthwave elements could easily accompany a dystopian or futuristic sci-fi film as well. Alec Berlin has incoherently created a masterpiece that is well suited for a plethora of cinematic works. In conclusion, "Man's Best Friend" is a must-listen for fans of instrumental music and jazz fusion. Alec Berlin's ability to create such diverse yet coherent musical compositions is a talent that few possess. The artist is indeed one to watch out for in the global independent scene. Alec Berlin has been making waves in the industry for a while now, and with this new studio effort he takes it a notch higher.
Alec Berlin - Space Punk and Other Junk
Alec Berlin's latest album, Space Punk and Other Junk is a 54-minute-long masterpiece comprising 12 tracks that exhibit his exceptional music production skills. The album's mix is impressive, with each instrument sitting right in the stereo mix, and it serves as an addition to the Ohio-born artist's knack for fusing his jazz roots with modern progressive songwriting. Alec Berlin has been tearing up stages of all sizes in NYC for quite a while now - ranging from intimate downtown venues all the way to Radio City Music Hall. Space Punk and Other Junk is the next exciting addition to his roster. Diving deep into Space Punk and Other Junk "Space Punk" sets the tone for the Jazz Rock record with its guitar riffs that are so well thought out that you'll jump for that repeat button from the get-go. Following this, “Man’s Best Friend” opens with a captivating acoustic guitar rhythm, which is a departure from Berlin’s usual style. Beat Confabulator (All Night on the Floor) is a hybrid of progressive jazz and alternative rock. It is groovy, it is tight, and most importantly, it is meticulously written and produced. A soothing, relaxed vibe is felt instantly with a song like LaNoise. It propagates a scene that would be depicted as a lazy Sunday afternoon, having a simple conversation... "Minir Maad" is a song where Alec Berlin details a documentary as a traveller through the Arabian Peninsula. while "Patchen Avenue" is a bluesy track, Alec makes a tantalizing composition that has a light marching percussive quality that asks you to breathe with it. The album's final track, "ROYGBIV," is a piece that ventures into progressive jazz territories and hints at what Alec has in store for his fans next. Berlin's album boasts a well-crafted sonic landscape with its rich sound textures and production techniques. The drums' compression and the utilization of the stereo field are impressive, and the overdriven preamps add warmth and depth to the sound. The guitar solos in each track are well-executed, showcasing the musician's mastery of his instrument. A Hot Serving of Jazz Folk Rock from Cleveland Guitar Hero: Alec Berlin According to a previous press release, “After more than two decades as an in-demand sideman, Alec Berlin has made an album that combines his love of concise pop-rock songwriting with his expertise as a guitarist. Berlin describes Space Punk and Other Junk, his fourth release, as “instrumental singer-songwriter music. These songs speak the vernacular of concise pop-rock music, so you’d expect them to have words. But it’s instrumental music...” The album's genre-blending and diverse sonic palette make it a great fit for movie soundtracks. The high-energy tracks would be perfect for action or sports films, while the slower ballads would work well in more emotional or dramatic scenes. Two movies that come to mind are "Baby Driver," directed by Edgar Wright, and Marvel's "Guardians of the Galaxy," directed by James Gunn, both of which featured eclectic soundtracks that blended different genres and styles. In conclusion, with Space Punk and Other Junk, Alec Berlin has established himself as a talented musician and producer in the global indie music scene. He released his debut record, a collection of original jazz called Crossing Paths, in 2000, and followed up with a pair of vocal-based pop and rock records – Beauty, Grazing at the Trough in 2007, and Innocent Explanations in 2012. The album is a must-listen for fans of jazz-rock instrumental pieces, and its unique blend of genres is impressive. Berlin's background as a musician, including his work with Green Day and his three previous albums, adds depth to his creative portfolio, and his fans can not wait to see what he has in store after this exhilarating fourth LP!
Ari Joshua - MEETING OF THE MINDS P4
Ari Joshua, founder of Madison Park’s Music Factory, has released his latest album, Meeting of the Minds Part 4, which sees him collaborate with keyboardist John Medeski, drummer Billy Martin, and bassist Jason Fraticelli. The artist's new studio effort is a sprawling, meditative improvisation that prioritizes in-the-moment interaction and features no one player taking precedence over the others. The album is characterized by its versatility, with the performances transitioning from near-ambient textural passages to laid-back experimental jazz grooves and tangent melodies reminiscent of Cuban music. Apart from immaculate sonic detailing, the record features a recurring organ motif from Medeski, initially tentative and atmospheric, which builds to a thick, churchy roar towards the climax. Furthermore, the other players also employ a wide dynamic range, with Medeski skittering across the piano keys and Martin’s drumming propulsive and inventive. The seven-minutes-long improv instrumental track explores minor tonality, modal harmonic interchanges, complex rhythm shifts and everything in between. Meeting of the Minds Part 4 seem to open new windows with every subsequent listen, making it a worthy addition to modern progressive jazz playlists. In conversation with with the composer IMF got in touch with Ari Joshua to discuss his vision behind the incredible Jazz Rock record. While also diving deeper into his personal favourites and future plans. Meeting of the Minds appears to be drawing influences from experimental jazz and progressive soundscapes. What was your artistic vision for this album? Well, there was a lot of music that happened on the session. Meeting of the Minds, the title, that came from Burgandy’s art. The all-improv release was just an introduction to what’s coming. It was a special session though. The album clocks over at 1 Hour 20 minutes, what were the challenges you faced while writing such a long record? Well, it’s all improv so I didn’t write any of it. Lol. But if anything I wish I could write 80 minute albums all the time. The challenge is always more the post-production. The mixing side. Speaking from a producer’s perspective, what were your sources of inspiration while incorporating acoustic instrumentals with ambient samples in complex time signatures? My inspiration is the masters that came before me and the source itself of all things. Pretty basic really. Haha. Out of the 28 tracks listed. Which ones are personal favourites? And Why? I don’t have any favourites. Every one is a favourite for a different reason. Which ones are your most used FX on the pedalboard? One’s you wouldn’t survive a gig without? I like to have an always-on boost and a delay of some kind turned to low in the mix. What can fans be expected to be excited about in the upcoming months In the next months, I will be selecting and preparing the next batch of songs to release. Ari Joshua presents a four-part Soul Jazz extravaganza The track's mix features a balanced stereo field and uses gritty overdriven preamps to create a warm, organic sound that highlights the emotion and energy of the performances. The producer employs multiple perspectives on the same raw materials, cutting snippets into four parts and excerpting them into two dozen fragments, to offer listeners a unique listening experience that they can enjoy in various ways. Meeting of The Minds Part 4 would be the perfect soundtrack for movies that explore the complexities of human interaction and the power of improvisation. The album’s meditative quality and emphasis on in-the-moment interaction make it a great fit for movies like "Lost in Translation" or "Whiplash", where characters are forced to confront their own vulnerabilities and the unpredictable nature of the human connection. Overall, Meeting of The Minds Part 4 is a stunning example of the power of improvisation in songwriting. Joshua and his collaborators have created an album that is both sonically and emotionally rich, inviting listeners to immerse themselves in the impulsive energy of the performance. This is a must-listen for fans of experimental jazz, soul and jam bands, and is a record that will solidify Ari Joshua as an upcoming global indie act.
Ari Joshua RAAR Trio - The TriCeraphClops
Ari Joshua’s RAAR Trio has delivered an electrifying track with their latest release, "The TriCeraphClops." This song boldly merges the improvisational spirit of jazz with the grit and edge of rock guitar licks, crafting a sonic experience that’s both exhilarating and unpredictable. From the moment the track begins, the listener is pulled into a groove that feels equally spontaneous and intentional. Russ Lawton's drums lock in effortlessly with Ray Paczkowski's basslines, creating a rhythmic foundation that swings between tight precision and organic flow. Ari Joshua's guitar, meanwhile, glides over this harmonic bed, delivering solos that feel like a seamless conversation between jazz’s complexity and rock’s raw energy. The mix on "The TriCeraphClops" is a masterpiece of audio engineering. The vivid dynamic range keeps each instrument distinct, yet the interplay between them feels natural. The carefully crafted stereo field ensures that the listener is surrounded by the sound, with every detail—whether a subtle cymbal tap or a roaring guitar riff—given its own space to breathe. The track's bold approach pushes the boundaries of both experimental and progressive jazz, making it a standout in the indie music scene. This song would fit perfectly into the soundtrack of indie comedies like Napoleon Dynamite or Diary of a Wimpy Kid. Its unique blend of quirkiness and depth would complement the offbeat charm of these films. Ari Joshua, a skilled guitarist with a deep background in jazz and experimental music, continues to evolve his sound with each release. Teaming up with Lawton and Paczkowski, RAAR trio has established themselves as an innovative force in modern jazz-rock fusion.
The Leif-Det er en egen lomme
The Leif bring an exciting new fold of jazz rock with their music. The trio from Norway have their own unique way of representing their experiences. This has some really cool licks, textural executions and a style that can be captured as their own. Their latest album is called Det er en egen lomme, and is a tale in itself through the medium of melody. It can become much more than it seems. Magnus Tenge, Per Oddvar Johansen and Tellef Øgrim are the powerhouse behind the music here. They create a ripple which begins smooth, inocous in nature. Yet, they are professional storytellers wielding instruments. They will know what lengths to take the execution. The opening single is called Einn til sjӧ. It sets the pace for what they are going to create, yet is just a prologue. Like an Allan Holdsworth song, you’re treated to lead elements you can’t quite predict. Yet, it has a dramatic warmth to it all. The Leif enjoy their very own chemistry which is exuded so well in their release. Even in their previous album called Then There from 2023, the band experimented with a central theme that worked incredibly well. They are able to work and create in frames. Perhaps this is why the final result is a masterpiece. Softer notes claim the opening of A’ho. There is a slow Floyd feel to how it begins, but nothing can be said of how it will unfold. The theme however is held strong with the song, and how each member responds to the nature of their counterparts' composition. When they move on to more centralised themes like Julie, it becomes more of a character depiction. As they respond without lyrics, what you get is an incredibly detailed sonic bibliography within a song. Songs like Hakklomana have a 70s rock soul to it in tone. Though they do depict themselves through the canvas of jazz, there is the ease and relatability of a rock song steeped deep within the song. This is amazing energy, captured by The Leif. The single after which the album is named has some kick-ass grooves. Although the verse sections become much lighter, the chorus has a dark character depiction that is much more suave. As they close the album with songs like Kilian, there is a wave that flows with the music you cruise. The band comes together with a synergy that isn’t forced, but made. It is not a collaboration, but conjoined expression they are able to nail so well. This would require its own TV series, however would be a good fit on shows like Mad Men. You can check out their incredible album above and follow The Leif for more like this. Jazz rock on!
Marc Soucy - Mayhem in Antartica
A twisting and turning journey through a vast, cinematic soundscape, "Marc Soucy - Mayhem in Antartica" isn’t in a hurry to reveal its full story. Instead, over 8 minutes, it patiently constructs a sonic world, layering retro synths, textured cymbal strikes, and a pulsating bassline into a controlled yet electrifying crescendo. The track opens with an organic fuzz, evoking the grandeur of an emperor’s arrival. The melody unfurls with a regal flair before seamlessly transitioning into a guitar-esque synth passage, reminiscent of a Spaghetti Western—but with an icy, otherworldly twist. Soucy’s knack for genre-blending is on full display, fusing elements of cyberpunk, progressive rock, and vintage synthwave into a mesmerizing composition. Dimensional percussion, cerebral synths, and muted bells drive the track into high gear, conjuring a Knight Rider-esque energy laced with psychedelic flourishes. There’s an underlying tension throughout, an unrelenting force propelling the piece forward. It’s almost as if we’re in a high-speed chase across an unforgiving, frozen wasteland, each note heightening the urgency. Whether intentional or not, the piece mirrors modern anxieties—climate change, global instability, the relentless march of time. Though originally recorded in 1983 in a stone cellar using just three room mics, meticulous audio restoration in 2023 and 2025 has preserved its essence while injecting a contemporary edge. Inspired by Emerson, Lake & Palmer, "Marc Soucy - Mayhem in Antartica" serves as both a tribute to Keith Emerson and a testament to Soucy’s progressive trio, Antarctica, featuring drummer Ray Lavigne and bassist Jeff Carano. With its hypnotic synth lines, pulsating bass, and frenetic yet controlled percussion, "Marc Soucy - Mayhem in Antartica" feels like the perfect soundtrack for a cosmic odyssey—perhaps even a lost scene from 2001: A Space Odyssey. It’s a mind-bending, high-tempo ride into the unknown.
The All’s Eye - Carriage House
The All’s Eye delivers a sonic adrenaline rush with their latest instrumental track, Carriage House. A bold fusion of garage rock grit and experimental jazz freedom, the song bursts open with a bluesy upbeat groove that wastes no time drawing listeners into its unpredictable rhythm. The band builds the track around a driving pulse, then layers it with a vivid dynamic range that expands and contracts like a living thing—tense, expressive, and always in motion. The crunchy overdriven guitar tones, reminiscent of vintage tube amps on the edge of breakup, give Carriage House its raw muscle. But underneath the distortion and swagger, there’s a cerebral precision at play. The stereo field is carefully crafted; guitars shift between channels like characters darting in and out of shadows, while the percussion dances with jazz-influenced syncopation that surprises and delights. The result is a soundscape that feels ready-made for high-octane sequences in modern cinema. One can easily imagine Carriage House underscoring the chaotic bus chase in Indiana Jones and the Dial of Destiny or the kinetic rooftop pursuit in Mission: Impossible – Fallout. The tension and propulsion of the track echo the energy of these scenes—tight, urgent, and coolly unpredictable. In the indie music scene, where genre lines blur and experimentation thrives, The All’s Eye stands out as a band unafraid to push boundaries. Their performances are known for their spontaneity and intensity, drawing from each member’s deep roots in live music—from smoky jazz clubs to punk dives. With Carriage House, they channel that collective experience into a track that feels both meticulously composed and wildly alive.