Review: Long-faced Boston blues trio GA-20 deliver a swampy, bluesy take on Dolly Parton's classic, 'Jolene'. While the original Parton number's lyrics dealt in the instantly-memorable theme of a queen bee stealing the singer's beloved - "just because you can" - the original song could nonetheless be accused of obscuring the melancholic feel of the lyrics, by lending them an uptempo dance backing. GA-20 might be credited with fixing that problem here, stripping things back to a lilting blues plod, convincingly reworked into a vintage, boxy, sepia-toned context.
Review: Omena once again calls on the superb sounds of Golden Retriever for this adventurous new EP that very much takes you away from the here and now and deposits you somewhere warmer. 'Part Lake' opens up with the joys of a spring day - acoustic strings rippling out as sun beams down. 'Andro Dunos' slows to a crawl and has a more star-gazing feel while 'Digambara' is a gentle rhythm that casts you out to sea. Two variations of 'Modulations' allows you to get lost in some lush synth tapestries and 'Kizuna Encounter' then ends with another lovely sonic day dream that empties your mind.
Review: This wonderful album delivers a tight, vibing collection of traditional old-time Appalachian music. Featuring Liam Grant on guitar, Grayson McGuire on fiddle and Devon Flaherty on banjo and guitar, this debut recording brims with raw, authentic talent. It was recorded straight to cassette with no overdubs and despite the carefree atmosphere, the trio expertly channels the spirit of old-time music. Tracks like 'Dry and Dusty' and 'Taner's Farm' reflect their playful yet poignant approach by blending upbeat melodies with deeper themes of rural life and hard times. This one is a real charmer.
Review: Originally released in 2014, Canadian singer-songwriter Myriam Gendron's debut album Not So Deep As A Well is finally back in reach via Basin Rock. On these fragile, finger-picked delights Gendron draws on the poetry of celebrated American writer Dorothy Parker and creates arresting folk songs out of them. Rendered in stark terms, with just guitar and voice pressed close to the microphone, it's an intimate experience which is sure to charm any fan of Sandy Denny, Buffy Sainte-Marie or Linda Perhacs. Gendron's heartworn, low-register voice adds an acerbic weight to Parker's writing, and she weaves her guitar playing around the words with understated power.
Review: Myriam Gendron's Mayday is a poignant and deeply resonant exploration of folk traditions, seamlessly blending elements of Quebecois culture with avant-garde nuances. Building on the success of her previous albums, Gendron crafts a stunning listen through both English and French lyrics, accompanied by a stellar lineup of musicians including Marisa Anderson, Jim White, and Cedric Dind-Lavoie. Despite the album's dark undertones, stemming from personal loss, Gendron masterfully infuses each track with a subtle yet powerful light, reminiscent of Leonard Cohen's ability to navigate darkness with grace. The result is a collection of songs that exude intimacy and familiarity while pushing boundaries and exploring new sonic territories. From haunting melodies to quietly aggressive free-rock arrangements combined with Gendron's lyrical talents shining through, Mayday hits all the right notes. It's a beautiful and thought-provoking work that lingers in the mind long after the final note fades away.
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