The flow of outstanding releases from Nashville musicians never seems to cease. The Scene’s music writers have eight new recommendations for you, which you can add to your streaming queue, pick up from your favorite local record store or put on your wish list for Bandcamp Friday. The promotion in which Bandcamp waives its cut of sales for a 24-hour period returns April 7, and many of our picks are available to buy directly from the artists there.
Annie DiRusso, God, I Hate This Place (Annie DiRusso/Good Partners)
On her provocative debut studio EP God, I Hate This Place, Nashville-residing indie rocker Annie DiRusso delivers five tracks that are raw, rebellious and real. As the title suggests, the mood of the record is dark, but not defeated. No song exemplifies this more than “Body,” in which she sings, “He loves my face / But not my body” and wonders, “Should I lose weight / Just so he’ll want me.” Against a backdrop of distorted guitars, she defiantly answers her own question in the opening line of the chorus: “Not really one for trying to be who you want me to be.” DiRusso’s earlier singles built a strong foundation, and she takes the next step with this serious artistic statement. DARYL SANDERS
Find God, I Hate This Place on your favorite streaming service and follow DiRusso on Instagram for updates.
The Altered Statesman, Hearts Around the Moon (Feisty)
Songsmith Steve Poulton’s long-running project The Altered Statesman is one of Nashville’s hardest acts to pin down. Over the years the band has developed a distinctive sound while simultaneously expanding on and experimenting with what that sound could be, and their latest release is no exception. The aesthetic is deeply rooted in the traditions of R&B, but Poulton & Co. never water down the influences that they blend in. Released on Valentine’s Day, Hearts Around the Moon is moody, mellow, humanistic and soulful — not hard to get lost in, but definitely not “easy listening.” P.J. KINZER
AndréWolfe, Wolves Don’t Howl They Sing (Trïbe Over Everything)
By now, you’re hopefully well-acquainted with the Six One Trïbe crew, an expansive and elastic collective of Music City MCs. The collective released its first feature-packed album last year, as well as a documentary about their work, and individual members’ projects are coming out fast and furiously as well. AndréWolfe’s album features heavy, kinetic, disorienting-by-design production that complements lyrics about the struggle to balance all the needs in his life. The heartfelt closer “Pipebomb” counts up the cost of getting it wrong, while in “Emo,” he gets into the importance of artistic validation. STEPHEN TRAGESER
Find Wolves Don't Howl They Sing on your favorite streaming platform, and follow AndréWolfe on Instagram for updates.
The Foxies, Who Are You Now, Who Were You Then? (self-released)
Led by singer Julia Bullock, The Foxies have been steadily releasing singles and EPs since 2015, but last year’s Who Are You Now, Who Were You Then? is their first full-length album. The good news is it was well worth the wait. The new album maintains the group’s signature electro-pop sensibilities while delving into a decidedly punk sound. It’s Carly Rae Jepsen meets Talking Heads and Blondie, and it’s a whole lot of fun. I’ve had “Headsweat” on rotation for months after hearing it on the radio one day, so beware: If you listen, you’ll be hooked. HANNAH CRON
Find Who Are You Now, Who Were You Then? on your favorite streaming platform, and follow The Foxies on Instagram for updates.
Don Aliquo, Growth (Ear Up)
MTSU professor and ace Nashville bandleader Don Aliquo’s eighth LP neatly utilizes the classic Sonny Rollins pianoless-quartet format on this disciplined session, giving Aliquo’s two different ensembles equal time through the eight selections. This approach provides an ideal setting for his warm, robust tenor sax solos. Aliquo has assembled some of Nashville’s prime improvisers for a collection that’s mainstream and bop-rooted, but versatile enough to offer something for fans of either standards or more contemporary fare. Whether the variation of the ensemble in play includes trumpeter Rod McGaha or guitarist Steve Kovalcheck as the second solo voice — and either bassists Jonathan Wires or Jacob Jezioro, plus either drummer Marcus Finnie or Danny Gottlieb — there’s never a lull. RON WYNN
Hammock, Love in the Void (Hammock Music)
Nashville duo Hammock — aka Marc Byrd and Andrew Thompson — has been refining its mostly instrumental, post-rock-inclined musical style for two decades. The two have mastered using their guitars, keyboards and lots of other studio gear to express emotional truths without relying on narratives — the Nashville music-biz stock-in-trade. Released in January, Love in the Void represents the duo shaking off the idea that their kind of music has to be “sleepy.” The soundscapes are kinetic, with contributions from outside musicians including drummer Jake Finch; check out the band’s YouTube channel for a behind-the-scenes look at the recording process. STEPHEN TRAGESER
Great Minds, Livin’ N Color (self-released)
On Jan. 1, Great Minds dropped some of the hardest tracks I’ve heard in a long time. These slammers recall some of the baddest moments of Burn, Underdog or the New Breed! comp tape — the classic NYHC style that bridged the gap between faster ’80s bands and the thicker ’90s street grooves. But Great Minds has a fresh take on the sound, bringing a fully contemporary attitude. Hands down, Livin’ N Color is one of the best recent local hardcore EPs, bringing bulletproof mosh riffs and ferocious intensity to songs decrying the epidemic of police violence. Check YouTube to see the band hit the streets of downtown in their “Problems” video. P.J. KINZER
Find Livin' N Color on your favorite streaming service, and follow Great Minds on Instagram for updates.
The Minks, Creatures of Culture (self-released)
Blues-schooled rock has been around for a long time, but that doesn’t mean it’s any less potent — when used in service of thoughtful songs like these, anyway. The bulk of the grooving, muscular tracks were produced by multi-instrumental polymath Robbie Crowell. A significant theme of the record is cutting through the posturing that’s especially easy to fall into in our social-media-driven age. It emerges in particularly poignant fashion in the hook of “Motorcycle,” as singer-songwriter-guitarist Nikki Barber sings: “All I ever wanted was someone / Who made me feel that I didn’t have to be ‘someone.’” STEPHEN TRAGESER
