Welcome to July’s ‘Monthly EPs Round-Up’ article, where we run the rule over this month’s new releases covering all corners of the americana music genre. As I scan across the fields of my home county of Lincolnshire, the breadbasket for the UK, the farmers are already busy bringing in the harvest, and this month we also have a bumper crop with no less than eleven EPs to get acquainted with. So let’s not waste any more time with small talk; there’s an EP of the month to reveal. Or is there? Read on and discover.
To get this month’s proceedings underway, we start with Robin Ross & The TW Howlers and their new five-track EP entitled “Back To The Forest”. The EP is a collaboration between Pennsylvania duo Robin Ross and TW Howell who at the start of this year encamped themselves at Baa Baa Leaf Studios in Milford, and with the help of engineer Jonathan Duckett have delivered a handful of songs that offer as healthy mix of classic americana with folky blues rock that immediately draws comparisons to many of the acts of the late sixties and early seventies of which Randy California’s Spirit quickly springs to mind. The title track, which is also the opening number, expands on the hippie dream of getting “back to the garden“, its deliberate retro vibe blending with more modern sensibilities that subtly envelopes the listener, while closing number ‘Whiskey And Ice’, with its infectious melody is another highlight from an EP that despite its cosmic psychedelic leanings still manages to remain deceptively current and is well worth further investigation, especially for those who have a penchant for the music from the late sixties.
Next up, we have Toronto’s Stan Simon and his latest six-track EP release entitled “Narrow Bridge”. Singer-songwriter Simon has recently endured a period of personal upheaval, culminating with the passing of his father, causing him to delay the release of this EP until the time felt right. The wonderful title track that starts proceedings shows Simon to be another artist concerned with the climate issue, inviting the listener to “cross that narrow bridge” towards awareness, accountability, and renewal as Simon vents his displeasure at “greenwashing” and political indifference. It is a powerful call to arms beautifully delivered by Simon’s soulful and passionate vocals. Elsewhere, the grief-stricken ballad ‘Long Way Past Gone’, written shortly before the passing of his father, aches for the pending loss and grief, the raw emotion intensified by some exquisite pedal steel. The EP on which every track is a winner closes with the anthemic ‘Oblivion’, standing as both a farewell and a beginning, the closing of a chapter and the turning of the page. This EP comes highly recommended.
The Sons Of Guns were formed amidst the vibrant live music scene of Nice, France, by vocalist/ guitarist David Zincke and his cousin, drummer Scott Richman, who set about forming the band by recruiting their favourite musicians from the area. Their six-track, self-titled debut EP, recorded at La Source Studios near Cannes, showcases the band’s multi-instrumental prowess, along with strong harmonies that deliver a genre-blending mix of americana, folk rock, and country, all infused with a strong commercial bent. The EP’s opening track, ‘You Shine The Sun’, begins with a lovely acoustic guitar intro before its shift in tempo and layered harmonies to expose its pop sensibilities. Of more interest is the following number ‘Hollywood’, again leading with an acoustic guitar intro, but here the subtle addition of the keyboards along with a darker narrative helps to create an ambience that quickly becomes hypnotic. The remaining tracks skip across the genres, never settling long enough to become pigeonholed, which may prove to be their trump card, or possibly their Achilles heel, as one feels they lack any clear sense of musical identity at the moment, although the closing number ‘Days Like These’ reveals an infectious rustic charm.
Continuing with the European connection, we have Greco-Swedish singer-songwriter and multi-instrumentalist Plási and his new five-track EP entitled “Camino”. Opening track ‘Father’s Eyes’ finds Plási combining his simply structured, signature acoustic roots with a more expansive production, with the help of longtime collaborators Hannes and Linus Hasselberg, presenting an ambience that is both lush and bright, thus creating the perfect juxtaposition to a dark and evocative narrative about a toxic parental relationship. Elsewhere, the title track, along with the third song ‘Efiga’, offer up a sunnier disposition, complete with Latin rhythms and a gentle tropical beat, delivering a message of personal independence, while probably the most interesting number is ‘Waiting For Signs’ that draws favourable comparison to Bon Iver. “Camino” is an enjoyable, if somewhat laid-back listen, with the melancholy of the narratives creating a natural tension against the brightness of the arrangement, but unfortunately, nothing lasts long in the memory.
Next we have Portland’s Chris Margolin & The Contraband and his new five-track EP entitled “David St”. Margolin has been plying his trade as a working musician for over twenty-five years, delivering his own blend of whiskey-soaked rock with just enough grit beneath the fingernails to generate a level of alt country authenticity. From the outset, this EP rocks out, with the title track inhabiting a sound more associated with Grunge, Pearl Jam, and Soundgarden being obvious touchstones. The slower pace of ‘Matches & Gasoline’ slightly shifts the momentum, but in truth, it takes until the third track ‘Next Hit Song’ before the melody escapes the heavy percussion, and the narrative has a chance to take centre stage. Even here, the riffs are relentless, and though there’s no denying the quality of musicianship, there’s little subtlety or depth on offer. The more commercial leanings of ‘Last Call’ faintly recall Rod Thomas’ Matchbox 20, and while the closing number ‘Even Stars Align’, eases slightly off the gas, this is very much an EP for those who like to rock, and on that basis it very much holds its own with many acts that fill arena-sized stadiums. However, as far as the americana music genre is concerned, this sits out on the perimeter.
Missouri singer-songwriter Lyal Strickland has a new six-track EP entitled “Ghost Light at the Gillioz,” recorded live at the legendary Gillioz Theatre in Springfield, Missouri. The theatre, first built in 1926, initially offered its last show in the summer of 1980, before a renovation programme that started some ten years later was completed in 2006. Today, the venue holds similar reverence to that of the Ryman Auditorium in Nashville and Austin City Limits. The EP opens with the one new track on offer, entitled ‘Gathering Dust’, and is a great addition to Strickland’s authentic, blue-collar, narrative-driven songwriting, embedded in the rural landscape of the Ozark hills. As well as his musical endeavours, which to date include two albums, Strickland is a dedicated seventh-generation farmer, and his songs resonate with all the struggles and resilience the human spirit experiences in small-town life. Of the remaining five tracks, three hail originally from his 2013 album “Balanced On Barbed Wire,” of which ‘O Arkansas’ in particular impresses with some excellent finger-picking on the acoustic guitar from Strickland, while ‘The Hotel Maid’ is the pick of the two tracks from the 2016 release “Preservation”. Thaddaeus Morton supplies accompaniment with some subtle guitar licks from his electric guitar, and yet, despite the quality of the material and performance level, the EP lacks somewhat in atmosphere, with just the faint hint of polite applause betraying the fact that it is a live recording.
Next, we have California-based singer-songwriter Pat Hatt and his five-track, self-titled EP. Having driven cross-country in search of a new chapter in his life on the West Coast, Hatt was inspired by the awe and freedom only found when one leaves everything behind and starts anew. Having spent most of his young adult life playing guitar in bands nationwide, Hatt took a ten-year hiatus from the music business, swapping his guitar for the chair as a professional barber, before returning to his first love in 2023. This EP opens with the infectious ‘Drunk On Leaving’, his rootsy heartland rock sound packing a punch without ever losing the melody, which encourages comparison to that of Tom Petty. The following number, ‘Turn The Dial’, continues the high octane level whilst still managing to maintain the intensity in the narrative with lines like “I don’t want to run (but) hell, it’s all I’ve ever done”. Possibly the pick of the five excellent songs is the closing number ‘Whiskey Lens’, which bristles with attitude, stuffed full of great one-liners and a chorus that just demands participation. This EP also comes highly recommended.
“Involuntary Noises” is the debut five-track EP from the British duo known as Crazy Water Common. Formed in 2023 by guitarist Toby Starks, formerly of the folk & bluegrass aficionados The Lowly Strung and Wheeler Street, and banjo/pedal steel guitarist Rob Wicks, previously with festival favourites CoCo & the Butterfields, the duo initially came together during an impromptu residence in the picturesque foothills of the Matterhorn, in Zermatt, Switzerland. Having spent the following twelve months writing and recording, this new EP offers a first glimpse of their joint venture. Vocal duties here are mostly shared, with musicianship clearly out of the top drawer, while the sparse arrangement is occasionally augmented by some delightful fiddle playing, as on the opening number ‘I Don’t Want To Adult Anymore’. Lyrically, the narrative’s sardonic indictment of the challenges of modern life is juxtaposed with an honest and emotive perspective on the affairs of the heart. Particular highlights here include the second track ‘Can’t Be Your Lover’, where some exquisite pedal steel playing from Wicks perfectly enhances the narrative’s melancholic ambience, and ‘Midday Moon’, which offers some excellent interplay between guitar and banjo that lies at the very heart of the duo’s sound. “Involuntary Noises” is a very promising first effort, suggesting that Crazy Water Common is a duo well worth checking out.
Next up, we have the debut six-track EP from Noah Brigden, entitled “Bad Habits”. Twenty-year-old Brigden comes from a small town in Northern Ontario, Canada, and has written, recorded, and produced this EP entirely from the studio built in his bedroom. A prodigious talent, he has already caught the attention of legendary producer/artist Daniel Lanois, who has booked Brigden as support for his forthcoming dates in Ontario this coming August. The six songs here are mostly based on distorted guitars and heavy percussion that accompany a narrative fueled by emotional angst, which together deliver a raw blend of indie country rock. Standout tracks include ‘Take Me Away’ where the opening bars of arpeggiated guitar underpin a vocal delivery that draws slight comparison to Jason Isbell, topped off by a quite delightful guitar solo on the outro, while both ‘Struggle On Boy – Stripped’ and the closing number ‘Tarnish’, where some delightful acoustic guitar supports an emotive narrative, reveal that beneath the rebel yell there lies a writer with a poets heart. In many ways, “Bad Habits” feels like a blueprint for what’s still yet to come, but if these six tracks are anything to go by, we will all be hearing a lot more of Noah Brigden.
Okay, nine down and two to go. However, this is where things deviate slightly from the normal procedure, as due to this month’s slightly heavier bag, I have decided to have two EPs of the month.
So the first ‘EP of the Month’ for July is the debut seven-track EP from Luke Tyler Shelton entitled “Blue Sky”. A native of Los Angeles and a child of the new millennium, Shelton’s debut offering was recorded at Sound Studio in Hollywood with no less than Shooter Jennings and Jonathan Wilson overseeing production duties, while mixing responsibilities have fallen to four-time Grammy-winner Trina Shoemaker. If that wasn’t enough, this full-band arrangement features contributions from longtime Jennings bandmate Ted Russell Kamp on bass, while Wilson multi-tasks on drums, guitars, and Moog-synth. However, despite the stellar cast, it is Shelton’s songcraft and soulful vocals that initially caught the attention of Concord Records and led to a deal with the label. Musically, Shelton has been described as a “sonic wanderer” and a “time traveller” as his songs hold a mirror to the near-mystical creative hotbed of early seventies Laurel Canyon. Opening with the breathtaking ‘Anna’ that sets the tone for the whole EP, it exudes with all of Shelton’s creative prowess, dripping in heavenly melodies, stuffed full of gorgeous grooves and soul-soothing rock and roll, that encaptures all the magic that burst out of the Canyon over fifty years ago, and yet still manges to sound completely fresh and contemporary. The quality continues uninterrupted throughout the EP, from the cosmic melancholy of ‘Feeling Always Down’, through to ‘Love On My Mind’, with its lyrical narrative that hints at the late great Jessie Winchester, to the haunting beauty of the closing title track. This isn’t just an ‘EP of the Month’, this is one of the best releases of 2025. Take a listen to the attached track below; you won’t be disappointed.
Right. How do you follow that? Well, with something entirely different but equally rewarding. “Dances By Firelight” is the new five-track EP from Boston based high-octane outfit Kier Byrnes and the Kettle Burners, which follows quickly on the heels of “Before The Fall,” which saw the light of day earlier this year and received a glowing review in April’s edition of this feature, from my esteem colleague Fred Arnold while standing in for yours truly. This is actually the band’s third EP release of the year, signifying their intent to build on becoming recipients of Americana Act of the Year at the 2024 New England Music Awards. The Sextet is made up of Byrnes on vocals and acoustic guitar, Dan DiBacco on vocals and electric guitar, Jason McGorty on accordion and Hammond organ, Monica Sager plays the washboard, while the rhythm section consists of Joe Miller on bass and Brian Lilienthal on drums. This new EP finds the band expanding their brand of americana to a point where it now defies description and blurs time, creating a raucous mix of musical adrenaline and enchanting melodies, weaving stories of love, loss, and life’s trials against a backdrop of twangy guitars, dazzling accordion, and infectious footstomping percussion. The five tracks here literally jump out of the speakers, the band clearly having way too much fun, it’s bordering on illegal. From the call and response bluegrass barnburner of opening number ‘Little Bit More, Little Bit Less’, to the riveting romp cover of Billy Strings’ ‘Dust In A Baggie’ that closes the EP. In between, you’ve got the gentle galloping stomp of ‘Further Down The Road’ with its scratchy guitarwork adding to the intensity, and mystery lurking in the narrative. There’s also an almost hymnal rendition of Sturgill Simpson’s ‘Turtles All The Way Down’, while the icing on the cake is supplied by ‘Don’t Let Perfect’, that sees the band joined by Valerie Rachel of Wayward Vine and David Delaney of The Wiskey Boys on fiddle, which along with the songs narrative that permeates throughout the EP, and its infectious melody, helps propell the song into an instant classic. Check it out for yourself.
