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: Searows is the moniker of Alec Duckart, a Portland-based indie folk star who is signed to Matt Maltese's label Last Recordings On Earth. Searows is influenced by the likes of Sufjan Stevens, Bon Iver and Iron & Wine and his falsetto has a similar power and timbre to that of his formative influences. Opening track 'Martingale' is beautifully stripped down and pulls you as a listener close to his soul. Meanwhile, on 'To Be Seen' Searows comes across like he's lamenting the death of something and it is a proper tear-jerker. Contrastingly, 'Toothache' is brighter with percussion and delay-laden electric guitar showing his talent for rich, lush arrangements. Matt Maltese has struck gold here by signing Searows. Plus, they're well-suited as they each appear to enjoy delving into post-apocalyptic work. Searows' previous release (on the Last Recordings On Earth label) is called End Of The World and before starting this label, Maltese released his hit single as a solo artist: 'As The World Caves In'. They suit it all so well.

Review: .While Brazilian guitarist Fabiano Do Nascimento and American saxophonist Sam Gendel first met and played together at the dawn of the last decade - at a Los Angeles cafe both used to frequent, fact fans - it was only last year that they decided to collaborate on a release. The Room, the resultant album, was reportedly recorded in two days in a studio in the Californian countryside. It's an undeniably magical and sun-soaked affair, with Gendel teasing fluttering, flute-esque improvisations from his soprano saxophone while Do Nascimento delivers impeccable, finger-picking meditations on his seven-string acoustic guitar. The latter is undoubtedly a virtuoso with his own distinct style - a Brazilian take on classical guitar, incorporating nods to lesser-known regional music - but instinctively knows when to step back and allow Gendel the limelight. Impressive stuff all told.

Review: "No-one knew the songs or what the plan was. We kept it loose and fun. This was the spirit of the sessions. No headphones, no playback, minimal overdubs, or bleed. Fast and loose," says Sam Evian of his latest record, the first to grace his new imprint, Thirty Tigers. If that's not enough to make you balk with jealously at not being invited, then the idea of Big Thief's Adrian Lenker and Sufjan Stevens, among others, debasing to Evian's house in the Catskills to examine a revamped studio, complete with vintage tape deck and console, then going wild swimming at midnight, just as snow fell, might seal the deal. The following day, work began on Plunge, a record with no real fixed direction or plan. In the end, it will - or, at least, it should - be remembered among Evian's finest offerings. A stunning collection of folk-leaning rock 'n' roll, Americana and jangly indie, you can almost smell upstate New York.

Review: You'd have to be some kind of human not to have a soft spot for Seasick Steve. Having graced us with a relentless list of amazing albums, and amazing album titles - Dog House Music, I Started Out With Nothin', You Can't Teach An Old Dog New Tricks, Keepin' The Horse Between Me and the Ground - his legacy is well and truly cast in cement. As is his reputation as a straight talking, blues peddling, guitar modifying doyen of drawly balladry and raucous barroom anthems. A Trip a Stumble a Fall Down on Your Knees is classic Steve, and yet it's also a move on from recent outings such as Blues In Mono, a collection of largely solo, acoustic, stripped back offerings. Here then we're fully plugged in and rolling deep with an entourage, the result being a record that feels as humid and atmospheric as it does late night and gruff. The quest to find America again seems to be over for now then.

Review: This timely reissue features a curated selection of standout tracks from Seu Jorge's acclaimed 2002 debut album Carolina (which was originally titled Samba Esporte Fino). The release marked the beginning of Jorge's international fame and was quickly followed by acting roles in City of God and Wes Anderson's The Life Aquatic where his Portuguese covers of the late great David Bowie became iconic. The record was co-produced by Mario Caldato of the Beastie Boys association and mixes up samba, funk and jazz into a timeless sound full of colour and soul for the warmer months of the year. Tracks like the anthemic title song, the funk-tinged 'Mangueira' and the infectious 'Tu Queria' remain essential showcases Seu Jorge's effortless musical charisma.

Review: Alessandro Asso Stefana's debut self-titled album showcases his diverse musical range as he effortlessly incorporates instruments and styles from rootsy folk and primitive blues to psychedelia, soundtracks, and ambient explorations. Drawing from the Smithsonian Folkways archives, he integrates Roscoe Holcomb's historic voice for a great blend of past and present. Each track unfolds like a little musical vignette that merges various instruments from different eras-such as the Marxophone, pedal steel guitars, and psychedelic organs. The second half of the album features Holcomb's voice, bridging folk traditions with modern improvisation and in all the record suspends you between earth and sky.

Review: Sufjan Stevens is nothing short of an enigma. Capable of shapeshifting in almost unfathomable ways, he's the sort of artist that can release a spellbinding and technically astounding collection of piano duets, written to score a ballet, but give tracks names like 'And I Shall Come To You Like A Stormtrooper In Drag Serving Imperial Realness'. High brow while totally accessible, his back catalogue to date is one for which you'd struggle to find anyone who doesn't appreciate, once they've taken the time to listen. Here we are then, mere months after the aforementioned song and its parent album landed, getting to grips with another very different beast. Javelin certainly shares in the beauty that ran through its predecessor - Reflections - but whereas the last LP was relatively minimalist, here things are often the opposite. Big, rousing, 1960s-70s style pop numbers, soulful journeyman acoustic with backing chorus, theatrical soft rock and plenty more besides.

Review: This Kurdish/Syrian singer and bouzouki player began his music career in 1980 while studying nursing. After earning his degree in 1983, he moved to Raqqa, Syria, and formed The Al-Rabie Band, with whom he performed Kurdish, Arabic, Turkish and Western songs. In 2011, the Syrian war forced his family to flee after his son was killed by ISIS so he resettled in Ireland, where he used music to connect with the local community, performing at various events and collaborating with Irish artists. His album I Am Kurdish blends Middle Eastern and North African music and he says is a way of spreading joy, love and happiness.