New Earth Farmers - Cure For the Late Bloom (2026)

Though the band is tagged as a California roots-rock collective, the basic structure of this music from the outset of “Atmosphere” is balls-out rock ‘n’ roll. The playing is exceptional, has all the vibrant dignity of gin & juicy moments throughout their forms of expression. But what’s surprising is how they apply the brakes to render the sophisticated & smooth “Be All the Love” -that’s not your run-of-the-mill hair band type ballad. Instead, this group decorates the music with cohesive musical trimmings vocally & instrumentally. It’s enticing, catchy, & savvy. Never compromising their rock aesthetic either. The drums are sharp & crisp; the performance is dreamy & at the same time heavy. There’s a gritty pathos with their bare-knuckle melodies.

From aggressive rock to a ballad with fortitude, they cruise into “How Did You Find Me?” & “Everything Is Nothing” both possess light touches of Tony Carey vocalizations from Planet P (“Pink World” LP) progressive ethereal suppleness. All performed with equal skill & atmosphere. The New Earth Farmers tune has presence but isn’t glossed over into bombastic playing. It’s all maintained quite expertly. Three different musical stylings all applied with a strict individuality that’s evident. There are 10 assertive numbers to Cure For the Late Bloom produced by Paul Michael Knowles (vocals/guitars/keys/bass) & recorded California & Nashville, TN.

The parallel singing by Nicole Storio (guitar) adds blots of pastel color to the lead vocalist & virtually paints the “sound” of the band. The true test is always for a distinguished band to tackle another artist’s song & see if they can inhabit the work with their own character. They do it boldly with a cover of Neil Young’s “Borrowed Tune,” that actually elevates the original. Quite good.

More in a progressive-grunge idiom, playing barbed-wire strings & singing lead as if possessed “Hustle Is Dead” has lots of tidy elements – smoke, steam, grinding gears & an Eric Clapton-type guitar accentuation that James DePrato pokes the bear with. The guitar has that tone that Eric used with Delaney & Bonnie & Friends (“Comin’ Home”) that was marvelous. Knowles sings with a predatory Dr. John voodoo ganglia & Melissa Phillips-DePrato’s harmony vocal adds the misty vocal potions. This is a well-greased machine.