Back catalogue:

Review: So what happens when a European post-punk outfit meets an American 'ambient country ensemble'? The answer: A Nanocluster. In fact, three. This being the third. Immersion first met SUSS in September 2021, and the results were mesmerising. Three years on and the impact was no less staggering. Originally landing in September 2024, part tres takes us into the kind of musical places we're used to finding Spiritualized or Mogwai, and even then the references are misleading. For as many times as Nanocluster Vol. 3 sucks us into a thick soup of ambient and atmosphere, inviting us to get lost in opiate cloud formations, it also asks us to jump on board a stream train of rolling and driving rhythms, juggernauts gathering depth and complexity as they forge ahead. A stunning collection of highly evocative and incredible musical instrumentals.

Review: Inner Cop Avoidance is a cult supergroup that is already surrounded by plenty of discussion and conspiracy despite only having played their first gig in 2022. Made up of Krisitan Poulsen on guitar, Mathias Saedrup guitar, Sebastian von der Heide on drums and percussion, Max Stocklosa on synth, xylophone and vocals, this self-titled album from the group lands as the inaugural drop on their own label. It is a brilliantly cacophony of electronics and percussion with twisted rhythms, post-rock guitars and a fiercely experimental approach that results in brilliantly beguiling music that somehow combines the futuristic and avant garde with bird calls and ancient shamanic ritual.

Review: Since parting company with alt country/Southern rock combo Drive By Truckers in 2007, singer/songwriter Jason Isbell has built a successful career as a solo artist. While he initially explored a punky and bluesy sound, by 2015 he'd pivoted to a softer sound inspired by folk and Americana. Ten years on, following a period spent touring extensively, Isbell is finally ready to drop another solo album. Wonderfully stripped-back but no less evocative or lyrically rich than his earlier work, Foxes In The Snow comprises 11 songs in which Isbell accompanies himself on acoustic guitar. There's no hiding place with such a sparse sound, but Isbell genuinely nails it. In fact, it could be his strongest and most startling solo album to date.

Review: If you've managed to tune out of society's collapse and the reorganisation of global orders for a second this week, it might have become apparent that Jason Isbell has swept up countless Album of the Week column inches. It's not hard to hear why, either. Finally, then, something we can all agree on - Foxes In The Snow is a breathtaking slice of Americana, folk, country and unplugged rock that's very timely really. Proof, if it were needed, of the vulnerability, thoughtfulness and feelings that can define humans if they stop shouting and shooting each other. An all-acoustic recording, Isbell played a 1940 Martin 0-17 guitar and nothing else to make this record. As so many critics have pointed out, how exposed he is throughout is why this feels like an artist unleashing their true superpowers. It's raw, it's honest and there is absolutely nowhere to hide here. For anyone. Expect few dry eyes in any house when this plays out, then.