Back catalogue:

Review: Known for his raw authenticity, Hot Water Music co-frontman Ragan embraces a dynamic blend of genres on this new collection. The album's lead single, 'Wild In Our Ways', showcases Ragan's signature gravelly voice alongside harder-hitting Americana-infused rock, marking a shift from his usual folk sound. The track's anthemic spirit captures themes of survival and resilience, with lyrics that rally behind the underdog. Ragan's commitment to honesty and musical exploration shines throughout Love and Lore, which was delayed due to the pandemic and his family commitments. Conceptualised in 2016, it eventually came together in early 2023. Songs like 'Echo the Halls', also featured on the album, continue this bold sonic evolution and Ragan's approach remains rooted in integrity and a willingness to stretch beyond boundaries. For fans of both his punk and solo work, Love and Lore promises to be a bold, heartfelt release, with his unmistakable warmth and conviction at its core.

Review: To commemorate the 30-year anniversary of the Canadian Celtic folk-punks The Real McKenzies' inception, 'Float Me Boat' offers a 23-track retrospective look at the band's three-decade tenure, compiled by none other than Fat Mike of NOFX's punkcentric label, Fat Wreck Chords. If you like your punk with plenty of kilt-spinning, bagpipes and anthemic hooks, or you've never ventured further than the Dropkick Murphy's corner of the scene, then there's never been a more ample opportunity to engage in a Celtic crash course.

Review: What you see before you ranks among the most mythologised live albums (n)ever released. Like the title suggests, it was originally recorded in 1972 at Parisian rock institution Le Bataclan, a legendary venue which would later gain notoriety after a group of armed gunmen opened fire on a crowd in 2015, killing 90 people. But that grisly recent history belies its status as one of the most respected concert halls in the French capital, and this not-quite-Velvet Underground show has contributed to that legacy. Showcasing the stop-you-dead qualities of Nico's staggering (and unique) vocal timbre, the surreal, immersive qualities of the Cale and Reed's legendary art-rock tones, this time capsule had been bootlegged and bootlegged until 2004, when it finally got an official release. Now it's back.

Review: For fans of Iron & Wine, Michael Nau, and Leonard Cohen, Reverend Baron's Overpass Boy offers a surely irresistible meditation on Los Angeles. Danny Garcia, formerly a pro skater and Drugdealer band member, created this album with a spontaneous mindset. It has worked to date with over 4.4 million streams and 135.4k monthly listeners on Spotify which proves his blend of soul, doo-wop, and East LA grooves is loved far and wide. This album was recorded at various LA locations and tells the story of a young wanderer through poetic observations and longings. Featuring stacked harmonies, gentle percussion, and Garcia's own instrumentals, it captures the city's essence and emotional depth and comes on limited Coke bottle clear vinyl.

Review: Emitt Rhodes' self-titled album, released in 1970, proves his pioneering approach to home recording: made in his home studio, it came at a time when union rules mandated that albums released by major labels had to be recorded in professional studios. Ergo, the fact that it was made at home couldn't be disclosed on the cover. Despite this, the original LP featured a playful message in the runout groove, stating "Recorded at Home" in humorous title case. Rhodes had initially intended to call the album Homecooking, but the label opted for his name instead. Using a four-track recorder, Rhodes forged the instrumental tracks before transferring them to an eight-track with which to add vocals, enhancing the sound with a higher-quality microphone - clearly that's as much as grandiose a story as we're getting on the BTS front. The album peaked at number 29 on the Billboard chart, with 'Fresh As A Daisy' peaking at number 54 on the Hot 100, and 'Lullabye' finding its niche in the Wes Anderson film The Royal Tenenbaums.

Review: You can always count on Wah Wah to unearth the rarest of gems and give them the ceremonial release they deserve. Randy Rice originally released To Anyone Who's Ever Laughed At Someone Else in 1974 as a private press recording printed in an edition of just 500. As is the way with such cult records, it's slowly permeated music culture thanks to the haunting beauty and idiosyncratic nature of the songs until a critical mass of appreciation inspires a reissue such as this. Remastered with a light touch, this subtly surreal offering takes classic 70s Americana into unique zones, with Rice's fragile songwriting and singing binding the record together as a heart-rending listen which is poised to charm a whole new audience.

Review: Intractable bluegrass from the one and only Tony Rice. At this point, Craft Recordings' taste in reissues hardly warrants scrupulousness; this long out-of-print album documents a lesser-known period in Rice's musical career, after which his predominant bluegrass bent had already been established. With only a small cadre of personnel in tow - Rice on old-time strings and vocals, his brother Wyatt on guitar, and Bob Shumaker and Lim Lloyd helming up mixing and mastering duties - Church Street Blues is proof enough that you don't need much to make an evincing folk album, not least one that evokes the deepest emotes endemic to Louisville, Kentucky. Consisting entirely of reinterpretations of Rice's favourite folk songs, 'Church Street Blues' became an immediate fan favourite and today it remains a classic title.

Review: Raymond Richards emerges once again as a musical maestro in Sand Paintings, displaying his unparalleled mastery of the pedal steel. Teaming up with Calexico's John Convertino and an array of eclectic instrumentalists, Richards delves deeper into his contemplative sonic world. From the courageous chords of 'Badwater Basin' to the dramatic landscapes of 'Monument Valley' and 'Saguaro,' each track resonates with emotional depth and cultural richness. While the album expands into grand cinematic gestures, there's a stoic singularity pervading throughout - a lonesome cowboy facing the elements with unwavering resolve. Despite the visceral intensity, a cloaked vulnerability emerges, revealing a profound connection to the world. Sand Paintings is not merely an album; it's a journey through landscapes of sound and emotion, guided by Richards' transcendent vision and honesty.

Review: Raphael Roginski's latest album, ealtys, delves into the rich blend of Eastern European mythology and nature, drawing inspiration from the grass snake ealtys, a revered spirit in Lithuanian folklore. This release follows Roginski's critically acclaimed 2023 album Talan and is steeped in personal and cultural significance. Rooted in Roginski's childhood visits to the Suwalki region of Poland, ealtys reflects his early fascination with Lithuanian music and his experiences recording ambient sounds in the forest with a four-track recorder. The album pays homage to Eastern European folk traditions through its track titles, which are derived from Lithuanian plant names. Yet, Roginski's sound is uniquely eclectic, blending jazz, American primitivism, and mysticism. The music evokes a sense of nostalgia and wonder, reminiscent of nights spent on a Lithuanian lake gazing at the stars. Collaborating with Warsaw producer Piotr Zabrodzki, Roginski explores innovative techniques, including "guitar piano" and overdubbing, to create a resonant, wind-like sound. The album features guest appearances by Indre Jurgeleviciute of Merope and pianist Zabrodski, adding depth to the evocative soundscape. This album has the ability to make new fans of a genre many might pass up or not that get that much exposure. This album is worth your time.

Review: The eighth studio album by American folk and country rock singer Linda Ronstadt, Simple Dreams was the best-selling album of her otherwise long career, and at the moment of its release in 1977 was also the second best-selling album by a female artist of all time, second only to Carole King’s Tapestry. From the upbeat ‘It's So Easy' to the poignant 'Blue Bayou’, the album seamlessly weaves Ronstadt’s trademark rock, country, and folk influences while saliently attending us to her gripping alto; her distinctive flutter was emblematic of the great American folk sound of the ‘40s onwards. Spanning everything from ballads to line dances, the album is most notably marked by the lonesome lament ‘I Will Never Marry’, on which Ronstadt imparts the extent of her dreams’ simplicity, and her strength: “I expect to live single all the days of my life."

Review: Linda Ronstadt's Cry Like A Rainstorm, Howl Like the Wind marks her return to pop with grandeur and power. Backed by a stellar lineup of session musicians, including Aaron Neville, Ronstadt delivers a collection of 12 quality songs by esteemed songwriters. The album's magnitude is evident in its lush orchestration and powerful arrangements, courtesy of the Skywalker Symphony Orchestra and the Oakland Interfaith Gospel Choir. While the grand scale occasionally overshadows Ronstadt's vocals, her refined phrasing and vocal prowess shine through, particularly in her duets with Neville. Engineer George Massenburg's impeccable recording work elevates the album to near perfection, capturing every instrument with clarity and balance. Cry Like A Rainstorm not only heralds Ronstadt's return to pop/rock but also showcases her remarkable musical development, making it a strong contender for the best album of 1989.

Review: The latest release from Rose City Band continues their tradition of sun-kissed country rock, blending effortless momentum with an undercurrent of darker tones. Led by Ripley Johnson, the band - featuring Barry Walker, Paul Hasenberg, and John Jeffrey - creates expansive, rhythmic music that's as much about groove as it is about atmosphere. The release balances the joy of uplifting moments with the inevitable presence of shadow, reflecting the duality of life. From the highway-bound optimism of 'Lights on the Way' to the emotional resolution of 'The Walls,' the music unfolds like a sunset drive, a journey through both light and shade.

Review: Rose City Band's Sol Y Sombra is a radiant blend of sun-kissed country rock and introspective melancholy, led by guitarist/vocalist Ripley Johnson. The album captures the joy of creation while acknowledging the ever-present shadow in life, with Johnson embracing both light and darkness. Backed by pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg and drummer John Jeffrey, the band conjures an effortless momentum, infusing each track with lush melodies and rhythmic drive. Tracks like 'Lights on the Way' and 'Evergreen' exude Americana bliss, while Walker's pedal steel adds a shimmering layer to the album's expansive, sunset-drenched sound. Johnson's introspective lyrics and soulful guitar interludes, paired with special guest Sanae Yamada's synths, elevate the album to a deeper emotional level. The closer, 'The Walls', beautifully features the band's blend of exploration and catharsis. Throughout Sol Y Sombra, Johnson expertly balances familiar sounds with subtle evolutions, creating a journey that celebrates both light and shade. It's a heartfelt and resplendent album, filled with timeless grooves and reflective moments.

Review: Caoilfhionn Rose's third album, Constellation, marks a mature exploration of nature's beauty and the power of music in a post-COVID world. Rooted in folk and jazz influences yet forging a unique sonic space, Rose blends piano, synths, and live instrumentation with ambient samples and futuristic production techniques. Collaborators like Jordan Smart from Mammal Hands and John Ellis of The Cinematic Orchestra add depth and texture to the album's ethereal soundscapes. Producer Aaron Wood's ambient samples enrich tracks like 'Rainfall' with layered intricacy. Rose's experimental approach, guided by husband Rich Williams, results in a collage-like album, where songs evolve organically through collaboration and creative exploration. Constellation shows Rose's willingness to push musical boundaries while staying true to her introspective lyricism and melodic sensibility. It's an album that invites listeners into a transcendent journey, weaving together elements of tradition and innovation with captivating ease.

Review: Caoilfhionn Rose's third album, Constellation, marks a significant evolution in her artistic journey with her exploration of experimental sounds and themes in response to the challenges of the post-COVID era. Rooted in folk, jazz, and classic tunesmith traditions, the album creates a captivating, otherworldly space by blending Rose's core piano with synths and incorporating a diverse range of musical elements. Featuring contributions from notable musicians like Halsall's rhythm section, Jordan Smart from Mammal Hands, and John Ellis, Constellation weaves together various influences and sounds to create a rich tapestry of musical expression. Rose's openness to collaboration shines through, with each track serving as a collage of influences and textures. Producer Aaron Wood's ambient samples add a layer of textured loveliness throughout the album, enhancing its depth and complexity. Constellation is a bold exploration of musical possibilities, demonstrating Rose's willingness to experiment and push the boundaries of her sound.

Review: It's hard to imagine anyone growing up in New Orleans and not falling into some sort of musical pursuit. If you've ever been to the Big Easy the fact that tunes and songs and rhythms and blues and Americana and bluegrass and jazz seem to float on every whisper of every breeze will not have passed you by. That goes whether you're draining the glass on Bourbon Street or in one of the Louisiana city's more authentic, less touristic corners. Hometown girl Esther Rose doesn't necessarily follow suit. Country, yes, but there's a tendency towards ignoring the genre tropes to step out and do her own thing. More power to her. Yes, 'Scars' and 'Want', for example, are blissful acoustic numbers as timeless as they are familiar - no criticism. But the likes of 'New Bad' feel genuinely inimitable.

Review: Rozi Plain's latest album might be her best yet. It is a spellbinding affair on Memphis Industries which she has said is "thinking about the often silent fight within us. Trying to come good, trying to not be bad. Feeling judged and judging ourselves." It is a showcase of her hypnotic songwriting ability that bristles with the rawness of the bustling Bristol DIY scene from which she came. The deceptive simplicity to each track means each tune is stripped back to its most core and potent components. It all adds up to a great record.

Review: A posthumous release that furthers Arthur Russell's now legendary status. Recorded in Downtown New York City on December 20, 1985, it's an intimate, unedited solo live performance recorded at Phill Niblock's loft space known as Experimental Intermedia Foundation. The takes are very raw and unpolished that it makes you feel like one of the very few in attendance. 'That's the Very Reason' is a beautiful, tender experimental folk piece showing he needed very few materials in order to send listeners on a journey of transcendence. 'Too Early To Tell' is highly idiosyncratic and produces a sound not normally associated with cello. And 'Sunlit Water' has an oriental feel and provides beautiful resolve to a resplendent set.

Review: Those with an intricate knowledge of the sadly cut-short career of the late, great New York experimentalist and leftfield disco specialist Arthur Russell will happily tell you that his most celebrated solo album, World of Echo, was not only developed over several years, but also utilised edited and chopped-up recordings of shows he performed in his home city in 1984 and '85. This release presents both of those performances in full, with Russell - performing songs to his own effects-laden cello motifs and little else - delivering sparse (but effortlessly emotive) early versions and 'sketches'. These are a mix of lesser-known songs and familiar favourites, including a haunting take on 'Let's Go Swimming', a medley of 'Hiding Your Present From You/School Bell', and the inspired 'Sunlit Water'.