Back in stock: Folk/Americana

Review: B-sides and rarities spanning Beirut's entire recording career are compiled on this elegant-looking and musically exceptional double outing. Artifacts was initially conceived as a vehicle for pushing out some early work in a formal release, but quickly grew to what you see before you know - 26 songs, 17 of which have never seen been available before now. When you consider what all that means a purchase becomes essential. Zach Cordon began trying to realise his sonic dreams at the tender age of 14, under the Beirut moniker, and has slowly developed from solo project to full blown band. What's here helps tell that tale, and the impact is profound - a spectacular journey from indie to world to folk to electronica and baroque pop by the heads who pioneered that beguiling combination.

Review: The long awaited third album from Nora Brown was recorded at the historic St. Ann's Church in Brooklyn Heights, and is about as strong an advertisement for joining her growing legions of fans as you could ask for. A marvel of dexterity, the acclaimed New York artist turns her hand to a dizzying array of instruments over the course of the record.

These include three separate banjos, one of which is more than 130 years old (having first belonged to her great-great grandfather), and another five-stringer once owner by her mentor, New Lost City Ramblers member John Cohen, which belongs in the permanent collection at the Library of Congress. Random-is background facts done, again we find Brown seemingly saturated in the culture, heritage, and sounds of her homelands, straddling Americana, alternative rock, bluegrass, folk, soul and pop in a way that seems effortless, if it weren't all also so deeply personal.

Review: The 7" from Third Man Records features two previously-unreleased takes of the song 'Blind Willie McTell' with the a-side being totally exclusive to this Record Store Day Special. The b-side will also, in time, be included on Springtime In New York: The Bootleg Series, Vol. 16 (1980-1985). Session musicians Mark Knopfler, Mick Taylor, Sly Dunbar and Robbie Shakespeare all play on the tune which was the first one worked on during the Infidels album sessions. Bob Dylan's voice is at its whiny and idiosyncratic best here as his harmonica rings out, rolling drums set a slightly country-sousing groove and electric guitars flesh out the track.

Review: Jose Gonzalez (of Argentine origins but living in Sweden) released his debut album in 2006 and received critical acclaim all over Europe. "Veneer" is a striking collection of hushed indie pop bedroom songs that sits elegantly on the hi-fi end of the lo-fi spectrum. This Peacefrog release can't be missed.

Review: Originally recorded in 1966 during his remarkable comeback - he'd been playing since the 20s but was rediscovered by various musicologists and found a new audience at Newport and Philadelphia's folk festivals in 1963 - this album demonstrates why he became a beloved mainstay of the folk revival. Unlike traditional bluesmen, Hurt's style is rooted in melody and intricate fingerpicking, making him a profound influence on the folk musicians of the 60s. His dexterous guitar work, often feeling as if multiple players are involved, pairs seamlessly with his soothing, almost meditative voice. Tracks like 'Pay Day', 'Louis Collins', 'Spike Driver's Blues', and 'Make Me a Pallet on Your Floor' showcase his ability to transform folk and blues traditions into something uniquely personal. He even delivers a rare but successful slide guitar performance on 'Talking Casey'. A particularly stunning moment comes in 'Beulah Land', where his intricate cross-rhythms add new emotional depth to a traditional song. Every track exudes a gentle, comforting presence, as if Hurt himself is sitting beside the listener, easing their troubles. His voice, often described as a balm for the soul, remains as rich and warm as ever, untouched by time. A beautiful, healing and profoundly moving experience that continues to impress more than half a century later.

Review: This is a solo album in the true sense of the word. It's comprised solely of Ava Mendoza's raw virtuoso avant rock guitar playing and - on two tracks - her passionate voice. The Brooklyn-via-Oakland musician is also known for being a skilled collaborator, with the her band Unnatural Ways having earned a stellar reputation, but limiting the spotlight to herself alone here serves to elevate the searching, personal themes on the record. Mendoza's is famed for her virtuoso guitar technique, with lightning-quick tapping, use of feedback and tremolo up there with the best in the business. This is a melange of classical, free jazz, blues and noise, to name a few. With technique this strong, it's no wonder she's been setting the New York experimental scene alight over the past few years. And with The Circular Train - merely her second solo album - we can hope there's many more to come.

Review: Fisherman's Blues, the fourth album by The Waterboys, marks a significant transition in the band's sound, shifting from their earlier style to a more traditional folk-inspired approach. Released in 1988, this album features rich instrumentation that beautifully blends Irish folk, country, soul and rock. The standout title track, while not a blues number, is a poetic exploration of longing and adventure, capturing the essence of Scott's lyrical strength. Violinist Steve Wickham's fiddle work elevates the music, particularly on tracks like 'We Will Not Be Lovers', where his aggressive bowing complements the intensity of Scott's lyrics. The album also includes memorable renditions, such as the haunting interpretation of W.B. Yeats' 'The Stolen Child', highlighting the band's connection to traditional roots. With compositions like 'And a Bang on the Ear', which reflect on love and loss through vivid storytelling, and 'Has Anybody Here Seen Hank', a nod to country blues, Fisherman's Blues remains a timeless classic. This 180-gram yellow vinyl reminds listeners of the band's innovative spirit during a period when musical authenticity often took a backseat. An impactful listen from a very important band.

Review: The tale of Weird Herald - a lost band of the 60s hailing from the South Bay of California - is one of talent, misfortune and mystery. They embodiy the essence of West Coast psychedelia and folk-rock, though they never got the recognition they deserved. Their lone official releaseia 45 with 'Saratoga James' and 'Just Yesterday'iwas just the tip of the iceberg. Their unreleased album from 1968, recorded before tragedy struck with the death of guitarist Billy Dean Andrus, features haunting folk-rock, spacey acoustics and electric jams that recall Moby Grape and Jefferson Airplane. With tracks like 'Untitled' and 'David of Bijou,' the band's mellow, harmonic side shines, while songs like 'Reapin' Seasons' show their harder edge. Their album was tragically shelved due to management issues, but reel-to-reel copies survived, and now, over 50 years later, they're finally available. With demos, outtakes, and bonus tracksiincluding rare 1967 basement recordingsithis release offers a fresh glimpse into the music behind the story.