It’s a common misconception that stability and reliability are the safest and most rewarding qualities that we should strive for in our lives. The promise of an inviting bed and a hot meal at the end of the day are comforting ideals, things all people deserve. But to really feel something, to endure the surprise and adrenaline of the unexpected keeps us on our toes. In this way, Larry and His Flask bring refreshing flavor with their music. Where the industry is lacking individuality, unique musical texture, and something to proudly blast on the car radio, Larry more than picks up the slack.

All That We Know could easily be described a frenzied, fast-paced, multi-faceted balancing act of genres sewn together with precise musicianship that is “finger-pickin’ good.” Moving from roots in classic country to bluegrass infused with vocals not unlike Sublime’s Bradley Nowell providing pure melodic hooks, Larry and His Flask have accomplished what many more weathered acts would probably fail at: creating a record that transitions fluidly from one song to the next without becoming sloppy and disconnected in the process.

“Land of the F(R)Ee” opens up like something Johnny and the Devil would have battled to down in Georgia, with banjos and head-spinning picking parts supporting the lyrics “I see the blood-red dust on his soul. His tired boots are as black as coal,” but by the time “Manifest Destiny” begins with trumpets blaring, we’ve come full circle back into a place of rhythm, Mardi Gras, and more banjo-picking to boot (but still managing to round out the track with rag time style piano cued up to an old Dudley Do-Right film).

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Cincinnati’s Mixtapes provides snippets of adolescence and angst in the form of compressed guitar riffs, direct lyrics, and modest dual vocals. The simplicity of their eleven minute EP Hope is for People is like a snapshot of youth, with the title track acting as its anthem, chanting, “Let’s cut the bullshit and get to living.” This theme continues through the rest of the EP’s six song tracklist, making it easy to listen to a few times through before the melodies and simple guitar parts begin to blur together loudly and passive aggressively in an altogether effective manner. The very forthcoming approach employed by Mixtapes is an echo of punk rock predecessors Blink 182 with a little sprinkle of vocals reminiscent of Kimya Dawson on top. The acoustic track “Where I Live” takes a softer turn, ending the album on a somewhat peppier note. If you aren’t the kind who enjoys rough vocals and uncomplicated lyrics, Mixtapes may not be the band for you. But if, like me, you’re looking to forget adulthood for a few blissful moments and remember simpler times through simple songs, look to Mixtapes to guide your way.