Back catalogue: Folk/Americana

Review: "I'd prefer it to be called just a country album," said TORRES of her collaboration with Baker, nearly a decade in the making, "but I'm proud to have made a 'queer country' album." TORRES had the initial idea to turn to the genre, inviting Baker to collaborate not only because of her shared southern roots but also because she'd also had a similarly religious upbringing that ultimately saw sexual orientation judged and condemned. The result is some deeply autobiographic songwriting on tracks like 'Tuesday', about a traditional family's rage at discovering their daughter was gay, the lilting 'Sylvia' and 'Sugar In The Tank', with pedal steel meeting acoustic guitar strum and very intimate sounding vocals. Bound to cause controversy in certain areas of the US, but it's got the quality and distinctive flavour to stand its ground.

Review: Marking 60 years since the late singer's birth, I Can Only Be Me celebrates the striking talent of Eva Cassidy with an ambitious project. Christopher Willis and William Ross teamed up to compose new arrangements for some of Cassidy's best loved songs, which have been recorded by none other than the London Symphony Orchestra. 'Songbird' is the centrepiece of the project, which made use of new breakthroughs in AI technology to add new dimensions to Cassidy's performance in line with Willis and Ross' new compositions. It's a posthumous collaboration like no other, sure to delight fans who always dreamed of where else Cassidy's music might have taken her if she hadn't died so young.

Review: Ryan Davis has seen "sunsets through every shade of beer", but remains convinced we were not put here to rest on depressed laurels and wonder where it all went so wrong. Words only count for so much, though, but thankfully he's put money and energy where that mouth is. Frontman in delightfully disheveled rock troupe State Champion, figurehead behind Louisville's Cropped Out festival. Sophomore Lounge label boss. And now solo artist with plenty to say and the talent to warrant our attention. Dancing On the Edge is the kind of Americana the world wants to buy into - so culturally specific in sound and phraseology, yet universally relevant. This is country rock that has forgotten its rules, embracing elements of garage, and slacker skate. What's most remarkable, though, is the songwriting. A masterclass in conveying the hypocrisy of humanity. Constantly looking for redemption from our next sin.

Review: While Claremont songwriter, guitarist, percussionist and experimental musician Norma Tanega scored her most memorable hit with 'Walkin' My Cat Named Dog', her later career heard her talents and curiosities get the best of her, working mostly as a percussionist and soundtracker in relative yet still intriguing obscurity. Her second LP followed duly from an early Dusty Springfield co-sign (and subsequent romantic relationship); while it charts the beginning of her transition into musical auteurism, most of Tanega's pop sensibility is so far retained here. Smack-dab in the middle of Tangea's extended stay in the UK after liaising with Springfield, the likes of 'Hampton Court' and 'Clapham Junction' allude to London's most major hubs of creative frenzy at the time, whilst the more abstract 'Elephants Angels And Roses' and 'Stranger' are relatively choral and lilting psych, folk and pop burrs, documenting the course of an relationship through confectionary vocals and romantic swells.

Review: Tidiane Thiam's Africa Yontii speaks volumes beyond its melodic notes, conveying a powerful message of change and empowerment for Africa. Thiam's expressive guitar work serves as his voice, articulating the need for African agency and self-determination. Born in the Senegalese town of Podor, Thiam's compositions draw from his deep roots in Pulaar folk music, enriched by collaborations with hip-hop producer Ndiaye Moctar. In this album, Thiam addresses pressing issues facing Africa's youth and reflects on the challenges of leaving loved ones behind in pursuit of a brighter future. Despite grappling with heavy themes, his music radiates with love for his homeland and heritage. Africa Yontii boldly reclaims the narrative of "world music," placing African voices and perspectives at the forefront. Through soulful melodies and poignant lyrics, Thiam beckons Africa to seize its destiny and usher in a new era of change and progress.

Review: British musician Kate Stable struck gold when she adopted the moniker This Is The Kit. A top play on words, she also did remarkably well drafting in comrades Rozi Plain, Neil Smith, and Jamie Whitby-Coles for the band. Active since 2003, to date they have released six studio albums alongside a wealth of short and extended play material, giving them a pretty big catalogue to pluck from when taking to the live stage. The quality of the oeuvre is only one of the exceptional aspects of their shows, though. One listen to Live At The Minack Theatre is like sipping an enchanted elixir. It woos, allures, immerses and moves you, alternative folk-rock comprising infinite layers of musicality, gentile cacophonies and laidback crescendos taking things to ever greater levels of artistry.

Review: Winner of the Orville H. Gibson award for best acoustic guitar player - yes that's right - British songwriter Richard Thompson serves up 13 Rivers, an album (his 19th) featuring a host of well-heeled legends and regular Thompson collaborators like Michael Jerome, Taras Prodaniuk and Bobby Eichorn. If you're new to his music consider it something of a balance between the salty croons of Nick Cave to storytelling appeal of Johnny Cash or John Fogerty. Oh yes, we'll be that bold, as Thompson was donned with a lifetime achievement honor for songwriting that came from the Americana Music Association. So yes, 13 Rivers provides this amount of channels, ballads and trips that will send you through the estries of Thompson's sound and style. Enjoy!

Review: The resurgence of interest in vinyl has brought with it plenty of spotlight for niche acts like Tinariwen. The Mali-based desert blues specialists are now frequently found on the playlist of eclectic Das and NTS radio hosts, and so they should be. This new album is actually an old one - Kel Tinariwen is an early cassette tape recorded in the 90s that has not been released before. It hones in on the political issues of the time and is a raw sound compared to how Tinariwen went on to sound, but still has all the hypnotic guitar lines and call-and-response vocals that make it distinctly them. Add in raw drum machine rhythms and keyboard melodies and you have an alluring and Arab-tinged take on synth-pop that really gets you where it hurts.

Review: "This LP is a compilation of songs from five different digital-only demo collections I released on Bandcamp between 2021 and 2023. I relied on the ears and judgment of my old friend Dom at Feral Child to curate this comp, allowing him to choose his favorites from over 60 songs," James Toth says of Demon Stations. "While I might have chosen an entirely different batch of tunes, I was happy to defer to Dom, as I've never had much perspective when it comes to assessing my own material." With every track recorded at home, many on the same day they were written, and mostly first takes used, there's an audible quality to this collection of archive material that's every bit as honest as the artist's own explanation as to how the final package came about. An atmosphere entirely befitting the open-hearted folk and Americana dominating the release.

Review: Malian singer-songwriter and multi-instrumentalist Ali Farka Toure's self-titled album is a cornerstone of African music. It's a perfect example of his unique fusion of traditional Malian sounds with blues influences and is one of many albums of his that remain favourites with collectors. Released in 1984, this iconic long player captures Toure's intricate guitar work and ability to blend hypnotic rhythms and soulful melodies that reflect the rich heritage of the Sahel. His deep, resonant voice conveys a sense of spiritual depth, with lyrics often rooted in Malian culture and folklore and the whole thing is a masterclass in understated artistry, where each track is a meditative journey.

Review: The first new music from Trentemoller since 2022 proves to be his furthest foray into the area of dream pop and shoegaze-esque alternative sounds yet. Two bands are obvious reference points here, namely Cocteau Twins - see the dreamy, hazy 'Empty Beaches' and the vocals of Icelandic singer Disa, throughout - and The Cure, whose dark-edged instrumentation provides a grounding counterpoint to the more shimmering, ethereal sounds. That's far from the whole story though. There are other treats like 'I Give My Tears', with a searing Mary Chain vibe, and the beatless centrepiece 'Hollow', not to mention subtle electronic embellishments throughout, proving there are many musical facets to what's going on here. One for the dark nights ahead, for sure.

Review: The Triffids' Calenture, now available on blue vinyl, marks a pinnacle in the Australian band's career. After the critically acclaimed Born Sandy Devotional and In The Pines, The Triffids joined Island Records to create their most epic album yet, produced by Gil Norton (best known for his work with Pixies and Echo and The Bunnymen). Calenture hones in on the band's creative peak, abandoning the lo-fi sound of In The Pines and returning to the lush, majestic style of Born Sandy Devotional. The album is a rich vast array of sound, brimming with lush arrangements and poignant lyrics, making it arguably their most accessible work - every track resonates with depth and excellent songwriting.

Review: Originally released in 1986, this album showcases The Triffids' exceptional blend of folk, rock, and post-punk. Featuring David McComb's haunting vocals and lush instrumentals, In The Pines takes you on a journey through atmospheric soundscapes. This album, recorded in the Australian outback on a modest budget, highlights the band's raw talent and creativity. Tracks like 'Love and Affection' and the cover of Bill Anderson's 'Once a Day' exhibit their range, from sharp electric guitar riffs to country influences. In the Pines seemed an eccentric career move for The Triffids, who were poised for major success. Retreating to the outback, the band created an album of modest majesty. Haunted by desolation, tracks like the gothic folk waltz of the title track and the intense 'Kathy Knows' stand out. Yet, the album is also filled with camaraderie. Often compared to Bob Dylan and The Band's The Basement Tapes, In the Pines captures The Triffids' infectious joy in making music, solidifying its place as a timeless piece of artistry. In The Pines is perfect for lovers of sweeping, melancholic sounds.

Review: Much contemporary and so-called cosmic American music lacks true cosmic essence, appearing more as imitation than innovation. Trummors' fifth album, 5, defies this norm with refreshing originality and exquisite execution. With lyrics akin to Robert Creeley's poetry and melodies that feel timeless, songs like 'Hey Babe' captivate with fatalistic beauty. Lerner and Cunningham's harmonies, complemented by skilled musicianship, create a captivating atmosphere and subtly blend genre conventions. Despite its rapid creation amidst uncertainty, 5 exudes both weight and airiness, ancient resonance and contemporary charm. Trummors' achievement in transcending tradition with confidence and immediacy is truly remarkable.

Review: William Tyler stands as one of the most influential solo American guitarists of this century. Having played with Silver Jews and Lambchop, he's carved out a singular space for himself, with albums weaving country roots and classical influences with postmodern experimentation; he melds field recordings and static drifts for a sense of imminent boundlessness, recoverable just over the hill. Drawing on inspirations from Chet Atkins to Gavin Bryars, from electroacoustic abstraction to hypnotic boogie, Time Indefinite - his first solo album in five years - hears Tyler reimmerse himself in said sound, reflecting on the hiss, distortion, and rawness of a turbulent era. With eerie loops and luminous melodies, Time Indefinite is an essential soundtrack for fostering resilience.

Review: The American musician and guitarist newest album is a collection of compositions that balance melancholia with quiet defiance. From the disorienting, tape-warped opening moments to the album's delicate final waltz, Tyler crafts an introspective instrumental landscape where the past and present converge. 'Cabin Six' starts with a hazy, found-sound texture, its distant hum of static giving way to Tyler's contemplative guitar. It's a track that feels suspended in time, evoking the isolation of its recording process. 'Concern', in contrast, unfurls a luminous melody atop warm strings, the steel guitar lifting the piece into a realm of understated grandeur. It's among Tyler's most affecting compositions, a quiet affirmation amid uncertainty. On 'Star of Hope', the album's spiritual centerpiece, an AM radio-sourced hymn weaves into Tyler's delicate loops, creating a ghostly, celestial resonance. The interplay between organic and electronic texturesitape hiss, processed echoesigrounds the track in a space both intimate and otherworldly. 'Electric Lake' shimmers with ecstatic drone, its weightless progression nodding to La Monte Young, while 'Howling' sways between ambient pastoralism and an undercurrent of discord, its background noise a restless specter. The album closes with 'Held', a sigh of relief wrapped in a gentle acoustic waltz. The ever-present tape warble lingers, a reminder of unease, but Tyler leans into beauty. Time Indefinite is a triumph of instrumental storytellingione of quiet reckoning, but also persistence, offering solace in its hypnotic, evocative swells.