Music

DOJA CAT

Planet Her

Kemosabe/RCA Records

I had been sleeping on Doja Cat, until just a few months ago when my YouTube mix started randomly playing her banger “Rules” which left me shell shocked by her dreamy vocals, killer raps, deliciously poetic yet snarky lyrics, and insane vision for visuals - everything from a satin purple tuxedo suit to the orange dreamsicle alien landscape in the “Kiss Me More” music video. And it's a team effort as she collaborates with SZA who is out of this world. Thankfully, this third studio album has come just in time for my musical and spiritual awakening. “Need to Know” is another sexy, futuristic song with Doja Cat on the prowl as an alien. And it tracks - the whole premise of the album is that everyone lives in harmony on Planet Her. Someone call Richard Branson for me because I’m ready for lift-off. - Marisa Patwa

MAROON 5

Jordi

Interscope Records

Maroon 5 have been in the industry long enough that it’s no surprise they are really experimenting with various flavors of sounds on their seventh studio album. While soft-rock and pretty pop songs have given them hit-singles worldwide, this album isn’t giving me any major obsessed vibes just yet other than “Beautiful Mistakes” with Meg Thee Stallion. It does tug at the heart strings though, being dedicated to the band’s late manager, Jordan Feldstein, who passed away suddenly in 2017. “Echo” with Blackbear is sweet like honey with Levine delivering some insane falsettos that sound a lot like something Bazzi would sing, but no complaints here. “Remedy” is a surprise delight with Stevie Nicks as a feature while the drums and bass in “Convince Me Otherwise” hit just right, as does H.E.R. who elevates the song with angelic vocals. While this album isn’t their best, it's beautiful and heartfelt. Jordi would be proud. - Marisa Patwa

MARINA

Ancient Dreams in a Modern Land

Atlantic Records

I have been a fan of Welsh singer Marina since she dropped delightful gems like “I Am Not a Robot” in 2010's The Family Jewels - back when she still had “and the Diamonds” in her moniker - which subsequently became the soundtrack to my summer of 2011 visiting my best friend and her family in A Thousand Oaks, CA. Marina’s voice is distinct and gorgeously addictive, electrifying your ears as you listen while trying to catch up and memorize the lyrics so you can start dramatically singing along. And Marina’s music can be dramatic, too, but in the best way. On this fifth studio album, she effortlessly proves she is still in the game; even if she may not be the most well known or popular singer, her talent is undeniable - especially on songs like “Venus Fly Trap,” “Man’s World” and “Purge the Poison.” While she may not go by Marina and the Diamonds anymore, she is still a priceless jewel. - Marisa Patwa

KK'S PRIEST

Sermons of the Sinner

EX1 Records

Yes, it’s another band riven by conflict and touring as separate acts. Guitarist KK Downing left legendary metal outfit Judas Priest a decade ago, but he’s since decided that if founding members Rob Halford and Ian Hill won’t welcome him back, he’ll go it alone. Touring under the less than creative “KK’s Priest,” Downing has managed to assemble a formidable band. Most notable is former Iced Earth front man and one-time Judas Priest replacement vocalist Tim “Ripper” Owens. Add guitarist A.J. Mills, bassist Tony Newton, and drummer Sean Elg, and what you get is KK Downing’s first solo record, Sermons of the Sinner. With songs like “Hellfire Thunderbolt,” “Metal Through and Through” and “Return of the Sentinel,” this isn't high art. However, it's a raucous power metal nostalgia trip for longtime Priest fans and those thirsty for new metal. Standouts are “Hellfire Thunderbolt” and the title track. - Matt Alschbach

SMITH/KOTZEN

Self-Titled

BMG

At first glance, guitarists Adrian Smith (Iron Maiden) and Richie Kotzen (Poison, Winery Dogs) seem like an odd pairing for a collaboration. The duo began jamming as friends several years ago, and quickly realized they shared a love of classic rock, metal, blues and R&B. What resulted is a surprisingly enjoyable seventies-style rock album written, produced and sung by Kotzen and Smith. The 9-song debut features both artists taking turns on vocals, Kotzen playing drums on several tracks, and even a guest appearance by Iron Maiden drummer Nicko McBrain on “Solar Fire.” Both Smith and Kotzen are surprisingly good vocalists. The album is well-produced and beautifully mixed. Most importantly, these fellows are spectacular musicians, and their talents are on full display here. Adrian’s guitar work with Maiden is well-regarded by fans and his peers. As for Kotzen, he replaced virtuoso Paul Gilbert in Mr. Big in 1999 - no easy task. Both are tremendous players, and the result is an album that is refreshingly entertaining. - Matt Alschbach

TYNE-JAMES ORGAN

Necessary Evil

Dew Process/Universal Music Australia

Australian singer-songwriter Organ’s debut album is a shining example of what one looks for in a collection of songs: it knows its lane, it's not afraid to take chances, and it shows character and talent. Within 30 seconds of opening track “Stranger,” there are immediate Daniel Bedingfield sounds, shooting directly into The Killers’ territory, before the vocal prowess of Lewis Capaldi paints this introspective portrait into a wonderfully crafted soundscape. Organ continues to showcase his complete vocal range throughout the record while wailing on heartland rock and neo-psychedelic tunes “Sunday Suit” and “Better Than This” - which could be mistaken for a darker Dr. Dog. The more pop-influenced “London’s Calling” recalls the aforementioned Capaldi but with hints of Ed Sheeran-esque vocal speed while church choir ballad “Heal You” brings authentic, bare and untouched vocals with live room undertones. But it’s the experiential indie tracks “The Fire” and “Burning Desire” that allow Organ’s vocal delivery to mesh with sound effects and swirls that almost stand alone as instruments themselves. It makes you wonder what Organ is capable of on his follow up record. - Freddie Bourne

JOSIAH & THE BONNEVILLES

Motel Mayday

Yucatan Records

If you recall stand-out American Idol talent Josiah Leming from 2008, this album will turn your head. After being signed, then dropped by Warner Bros., Leming formed this altrock outfit that delivers the honesty of Ryan Adams while honoring the entertainment value of The Killers. Motel Mayday draws much inspiration from the infatuation of an eventual broken relationship, with tracks “Anything but Lonely” and “Daisy” detailing the knowledge of needing to dissolve an unhealthy partnership but being unable to forget the good times. Leming delivers impactful, emotional vocals a la The Fray throughout the entire record while the band simply drives around him to allow Leming to be a front and center storyteller. If Bob Dylan had the range, this would be the record he would make. Last minute addition “Six Dollar Check” goes against the narrative but details an important message of how the music industry can break their promises in an instance and how a once popular household name can be on a struggle bus like every aspiring musician. Well-produced and focused, Motel Mayday may help Leming find his way back into the limelight. - Freddie Bourne

Blues with Bragin

SCOTT ELLISON

Skyline Drive

Red Parlor

Tulsa-born blues-rocker Scott Ellison returns with Skyline Drive which opens with electrifying guitar work on “I’m Missing You.” The title track, which straddles the line between blues and cool, late night jazz, finds Ellison singing about hitting the road with someone he loves sitting next to him. The classic sound of “Something About You” features solid piano in the background to complement Ellison’s guitar. David Bernston’s harmonica on “Obsession” shows off his talent. “Coming Down From Loving You” features Steve Crane on bass providing a nice counterpoint to Ellison’s guitar on a song the two co-wrote.

“All Wound Up” sounds like a more modern version of something from a 1950s sock hop, with great piano and guitar. The brief acoustic song “Woman’s Got a Hold on Me” seems reminiscent of something from the Mississippi Delta. Casey Van Beek’s bass on “Breathe Underwater” offers a funky groove to match Ellison’s stellar guitar playing. The melancholy guitar and organ on “These Blues Got a Hold on Me” fit well with the lyrics about a woman leaving. “Overwhelmed” cranks the volume to 11 as Ellison sings about one misfortune after another. The album closes with “Lonely in Love,” a song about unrequited passion. For more info, visit redparlor.com. - Paul Bragin