Sarah Bettens
Shine

Sarah Bettens’ second solo album continues a successful trajectory that began when she helmed K’s Choice—a top-selling Belgian band that earned numerous overseas accolades—and evolved into a career that’s garnered honors and awards of her own. Shine shows the kudos were well-founded—bittersweet vocals informed by wistful reflection and a tendency to veer suddenly from quiet contemplation to full-throttle rock make this an emphatic offering. Think Carole King’s overflowing optimism tempered by the guarded desire of Dido or Fiona Apple.

Veteran producer Brad Wood adds a rich pop sheen to the proceedings, bolstering credibility for both the title and Bettens’ mainstream savvy. Spritely and intriguing, Shine ranks among this year’s most valuable finds. —LZ

sarahbettens.com

Aimee Bobruk
The Safety Match Journal

The Safety Match Journal, the debut from Austin, Texas songstress Aimee Bobruk, is a work to be savored from beginning to end. Each song carries enough pop sensibility to stand on its own, but the album as a whole—strung together with quirky and inventive instrumentation, almost tribal percussion with a lilting blues beat and ethereal, folk-savvy vocal stylings—is nothing short of a work of art.

“Liverpool” opens the set with a heartbroken girl’s attempt to regain lost love. The threat of heartache continues in the deceptively upbeat “Fools for Love,” a rollicking lesson in the consequences of materialistic romance. Finally, “Shores of Gold,” a breathtaking soundscape with a glimmer of hope, leaves the listener savoring every last page of this insightful Journal. —BW

aimeebobruk.com

Ferron
Boulder

Part Cree and Ojibway Indian, Ferron delivers her 14th album in a career that has spanned three decades. For those not familiar with the Canadian cult and folk icon, one might compare her to Leonard Cohen mixed with a splash of k.d. lang and a touch of Bob Dylan. However, with a style unambiguously her own, Ferron manages to transcend comparisons, interlacing an emotive tapestry via self-penned songs like the album’s cozy opener, “Souvenir,” and the heartrending “Our Purpose Here.” Produced by New York City-based indie rocker Bitch, Boulder’s credits read like a who’s who of female folk-music legends including the Indigo Girls, Ani DiFranco, Samantha Parton and JD Samson, who shares the production spotlight with Bitch on one of the album’s most radio-friendly tracks, “In the Meantime.” —SH

ferrononline.com

Carrie Hryniw
Finding Grace

Canadian artist Carrie Hryniw’s pop tunes on Finding Grace are rooted in an elegant combination of piano and guitar. She demonstrates sharp skills on both instruments and favors an understated delivery that keeps her vocals—equally tasteful and unadorned—front and center. The intimate production highlights Hryniw’s confessional lyrics, which tell the story of a woman who has been disappointed and let down by love.

Hryniw’s opening track, “Just Pretend,” with its shuffling, mellow acoustic guitars and breathy, almost stilted vocal phrasing, could be the female equivalent to any of Jack Johnson’s pop offerings. The spare, subtle harmonies of “Broken Bones” bring to mind Sarah McLachlan in her Surfacing days. As a whole, Finding Grace is a beautiful, albeit heartbreaking, listen. —LCB

carriehryniw.com

David Jacobs-Strain
Liar's Day

There’s nothing uncommon about playing the blues, but when the musician’s merely 24, snags the veteran rhythm section of bassist Kenny Passarelli and drummer Joe Vitale, and emulates the rural roots branded by Fred McDowell and Robert Johnson, you’re inclined to believe he’s fully immersed himself in the genre. While certain songs—“Christmas in July,” an original take on Johnson’s “Traveling Riverside Blues” and opener “Liar’s Day”—bounce along with an easygoing ramble, the majority bear more ominous undertones, packing an electrified roar that would no doubt have Jimi and Stevie Ray nodding their approval.

The key is Jacobs-Strain’s prowess on bottleneck guitar, a sound that’s frenzied yet fluid, capable of delivering either a stomp or a shuffle. This, his sixth album, traipses well-trod turf but leaves a formidable impression in the process. —LZ

davidjacobs-strain.com

Andrew McKnight
Something Worth Standing For

Stretching across the landscape of American folk music is a highway paved by Guthrie and Dylan. Artists like Chuck Brodsky and Richard Shindell have done their share of road maintenance, and now Virginia native Andrew McKnight takes his turn smoothing down the blacktop. If you like folk music with a healthy dose of social commentary, then Something Worth Standing For will satisfy with exactly what its title implies.

McKnight—also an environmental activist—covers topics ranging from Hurricane Katrina (“Times We’re Living In”) to immigration (“These Shoes”), racism (“Bridges”) and war (“Wind Whispers Your Name”). He even throws in a lighthearted jab at societal paranoia (“Surveillance”). Despite the heavy subject matter, much of the music is upbeat. Peppy mandolin, fiddle and acoustic guitar give the songs a nice sense of movement, while plenty of banjo and dobro reminds us of McKnight’s Appalachian roots. —MW

andrewmcknight.net

Chris Pickering
Excuses Excuses

Keith Partridge in cowboy boots—that’s one way to summarize the sound of Chris Pickering. The Australian artist offers up a catchy blend of country and ’60s-flavored pop on Excuses Excuses. Tambourine and handclaps layered over drums keep the sound light and fresh, while the list of instruments the multi-talented Pickering plays includes guitar, organ, synth, banjo, piano, harmonica, glockenspiel and even cowbell.

Highlights include the bluegrass-flavored “Ghost City,” the hopes-and-dreams ditty “Broken Wing” and “Ruby Ruby,” an ode to a shady lady who keeps bad company, featuring Pickering’s clear tenor ringing bright above the pedal steel. Pickering himself keeps some pretty good company, evidenced by bluegrass stalwarts Sam Bush and Al Perkins, sitting in on “One Glass,” and English rocker John Turnbull singing background on “Fit to Print.” No more excuses—check out this record. —MW

chrispickering.net

Jenny Reynolds
Next to You

In the summer of 2003, after two years of touring Texas, former high-school English teacher and New England native Jenny Reynolds decided to cram everything into her ’97 Honda Civic and head for the bright lights of Austin, which she now calls home. Five years later, bolstered by “Best New Local Act” kudos from the Austin Chronicle Critics’ Poll, Reynolds offers up her most concrete work to date with Next to You.

Co-produced with Scrappy Jud Newcomb and Mark Addison, the album adeptly showcases Reynolds’ silky-smooth vocal style that’s been described as an amalgam of Shawn Colvin, Beth Orton and Lucinda Williams. But it’s Reynolds’ songs that shine brightest, with cuts like the melancholy torch song “Ain’t No Reason” (featuring Ruthie Foster and Ian McLagan) and the album’s rocking title track. —SH

jennyreynolds.com

Becky Schlegel
For All the World to See

There are some voices that, when lifted in song, are so sweet, even the alphabet—sung backward and in German—would tantalize the ear. Bluegrass artist Becky Schlegel, with her new release For All the World to See, is one of the gifted, honey-throated songbirds like Dolly Parton and Lee Ann Womack who sounds effortless when she delivers a tune. With a lovely soprano that complements her brand of old-time roots music, Schlegel offers 11 originals penned from a deep well. “I get inspired every day, from my own experiences, others’ experiences, others’ stories,” the artist says. “Anything that moves me. It does seem easiest to write about real life, though. The words are right there.”

The album is comprised of mostly mid-tempo numbers, produced and arranged simply—so as “not to take away from the voice,” according to Schlegel—and are an exercise in catharsis. “Lonely” and “I Need Your Love” express feelings of longing, while “Bound for Tennessee” and “99%” capture the singer’s tough resolve.
The vibrant lyrics are accompanied by flourishes of mandolin, banjo, bass and guitar. Fans of honest Americana and acoustic-country acts like the Dixie Chicks and Lori McKenna, or even stripped-down pop á la Jewel, should give Schlegel’s CD a listen. Years of woodshedding, including two previous CD releases and a bevy of regional awards for her musicianship, find Schlegel at her peak. She’s positioned to be noticed with For All the World to See. —LCB

becky.bandvista.com

South Austin Jug Band
Strange Invitation

South Austin Jug Band’s third full-length release is filled with beautifully crafted, heartfelt songs, bittersweet melodies and well-orchestrated string arrangements—and nary a jug solo to be found.

That doesn’t hamper the proceedings, though; supported mostly by mandolin, fiddle and upright bass, frontman James Hyland possesses a hypnotic power in his subdued vocals, simultaneously offering simplicity and an intensity that is emotionally captivating. The songs on Invitation portray a compassionate and stable character observing and reassuring those around him: “Come to Me” finds him tending a lover’s broken heart, while the complex “Chicago” poses three seemingly stagnant situations against a moving train. When, in “Wheatfield with Crows,” Hyland sings, “I know you’ll amaze me,” he leaves a downcast friend—or listener—encouraged. —BW

southaustinjugband.com

Heather Waters
Propeller

Heather Waters’ sophomore release is poignant, powerful and dynamic, vocally as well as instrumentally. Her piercing voice, paired with a songwriting style full of striking imagery and adventurous storytelling, will likely draw comparisons to other fiery, red-headed contemporaries such as Jenny Lewis and Patty Griffin.

“Diane” is a moving opener in which Waters showcases her extraordinary ability to maintain impeccable tone over large melodic leaps and intervals with effortlessly executed dynamics in almost every line. She does the blues proud in “Say You Love Me,” belting out misgivings about her “fair-weather” lover over B3 organ riffs. “Joy Comes Back to Me” showcases gospel blues over a reggae pulse. Taking flight easily, Propeller thrills with the best kind of turbulence. —BW

heatherwaters.com

Christopher Williams
Sweet Redemption

Sweet Redemption, the latest in a long line of superb releases from Christopher Williams, finds the artist stretching outside of his signature rhythm-driven folk fare. He’s no stranger to a gritty, organic sound, but this time he gives listeners a heavy dose of the blues with a silver lining.

Consider the righteous opener “Anything but Fail,” which sets the tone for the album. It’s propelled by an irresistibly catchy groove, complete with handclaps, warm acoustic guitars and twangy dobro. Rather than adding clichéd, tear-stained laments to his soulful repertoire, Williams and frequent co-writers Allen Levi and Andy Gullahorn, among others, take a different approach: They infuse light into these darkness-tinged tunes. While his rootsy sound is decidedly outside of the Christian-pop radio mainstream, the weight of his words will resonate with any seeker. —LCB

christopherw.com