New releases last four weeks: Folk/Americana

Review: Japanese psychedelic pop singer-songwriter Ai Aso hails from Tokyo and has an almost impossibly wispy thin folky style to her singing that makes her utterly unique. She has been active since 2000 and has worked both solo as well as with the likes of White Heaven members You Ishihara and Michio Kurihara. Her solo album arrived back in 2014 and now a decade on gets a vinyl press via Ideologic Organ. It is beautifully delicate and whimsical, with lullaby-like guitar melodies and her own vaporous vocals drifting gently with a real sense of innocence in the sparse tracks. Lo-fi and intimate, this is a quiet gem.

Review: Once nominated for the GRAMMY for 'Best Traditional Blues Album', blues and roots legend Eric Bibb delivers a brand new live album to the world, Live At The Scala Theatre, Stockholm, under license from Repute Records. Live at The Scala Theatre contains a selection of songs cherry-picked from Bibb's towering history as a musician, infused with the folk and blues tradition with more contemporary sensibilities. "Without a doubt," says Bibb, The Live at The Scala concert was "the most ambitious gig and recording project of my career." The performance features an all-star lineup of musicians including Eric's longtime collaborator, musical director and producer Glen Scott on bass, keys, drums and backing vocals; Olle Linder on drums and acoustic bass; Johan Lindstrom on pedal steel and electric guitar; Christer Lyssarides on electric guitar and mandola; we could go on.

Review: Diane Birch returns with that spellbinding voice - a transportive powerhouse packing a timeless quality that resonates through her music. The American recording world doing what it has always done so well, creating huge, heartbreaking, hopeful, and captivating mini operas disguised as pop. Or, if you want to get technical here: soft rock, country, folk, r&b and soul. OK, so there are elements of funk and jazz, too, and the result is a heady brew that's pretty inescapable. Harking back to the balladry heydays, with shades of Dolly Parton, Whitney Houston, and Carly Simon, to name but a few - in delivery and performance, if not necessarily tone - no matter where you're listening from it's going to be hard to forget this one.

Review: Country and folk fans alike take heed - Muireann Bradley is a startling new talent in country and bluegrass from County Donegal in Ireland. I Kept These Old Blues absolutely calls back to a golden age of Americana, but Bradley's Irish lilt comes through and entwines with her faithful Southern twang to make for an endlessly charming end result. Her playing is pitch-perfect, stripped to the bone finger-picking all the better to savour the songs and the way they're sung. Don't sleep on this limited coloured vinyl edition of this rough diamond of an album.

Review: The debut solo album by David Crosby of Crosby, Stills & Nash fame, If I Could Only Remember My Name is an ironic title for an artist first striking out on their commercial own. But despite its faux-amnesiac title, this freak-folk opus is actually a striking claim to, not a loss of, personal musical identity. Following the success of 1970's Deja Vu with Stills & Nash, Crosby sought to expound on that album's methodology - hard psychedelic drugs, brushes with insanity, copious studio time - to produce a crisp, profound and multifaceted vision on the intersection of blues, folk and collective music-making, with every legend from Neil Young to Joni Mitchell to Graham Nash in tow. The highlight has to be, above all, 'Tamalpais High (At About 3)'.

Review: A third album of wonderfully intimate, idiosyncratic songwriting from multi-instrumentalist Stephen Gilchrist - formerly the Stuffy in the much loved Stuffy & The Fuses - in his Stephen EvEns guise. The name may be singular, but from the choir of voices singing the opening tune 'A Song For Europe' to the child's voice at the end of seafaring epic 'Hello Salty Salty', this is very much a community effort and feels like it, with Stephen's core collaborators Jimi Scandal (guitar) and Crompton Whesp (drums) joined by guests like former Curve/Echobelly bassist Debbie Smith, longtime Cardiacs keyboard player William D Drake and Hurtling/My Bloody Valentine guitarist and keyboard player Jen Macro. The mood palate is on just as grand a scale as the personnel list, from the Nick Drake-style acoustic guitar/strings interplay of 'Firefly' to the beefy hip-hop backbeat of 'BBQ Head & 7 Bells', a two part track, the first half dedicated to the joys of cooking in the garden, the second about paranoia and the threat of violence. Elements of psychedelia, some gorgeous analogue synth tones, a penchant for a quirky time signature and/or arrangement all add to what's already a very tasty concoction that anyone with an ear for a tenacious earworm or two will love.

Review: Trail of Flowers by Sierra Ferrell is a captivating journey through the heart of folk and country music.. Ferrell's rich and emotive vocals shine brightly throughout the album, carrying the listener through tales of love, loss, and resilience. With a style that seamlessly blends traditional folk with classic country elements, Ferrell delivers a collection of songs that feel both timeless and contemporary. Each track is imbued with raw emotion and authenticity, drawing listeners into Ferrell's world with its vivid storytelling and heartfelt lyricism. The instrumentation is equally enchanting, featuring acoustic guitars, fiddles, and subtle yet expressive arrangements that perfectly complement Ferrell's vocals. The production maintains a warm and intimate atmosphere, allowing Ferrell's voice to take center stage while still capturing the nuances of each instrument. This album has been receiving widespread acclaim since being released and in our opinion, it's definitely warranted

Review: Guitarist, composer and skateboarder Tommy Guerrero hears several of his earliest albums reissued now via Be With, of which 2008's Return Of The Bastard was his fifth. Still evidently deep in the throes of recording for the pure fun of it, this fifteen-track album reflects a pure lyricless enjoyment that few other of Guerrero's contemporaries could ever hope to share. Perhaps it's the meditative truck of his earlier skate career that course-corrected his frame of mind to pure creative meditativeness; here driving noisy drum machines, lightly-amped two-tones, the occasional kalimba and faint vocals all collide for the perfect accompaniment to an implied visual narrative.

Review: Light Verse is the seventh studio album by the American singer and songwriter Iron & Wine. The album was announced on February seventh 2024, simultaneously with the release of the lead single 'You Never Know' which showcases Sam Ervin Beam's great songwriting and arrangement skill, with his blend of folk and pop music has been compared to greats like Simon & Garfunkel, Nick Drake and Neil Young. Sam has been loyal to the Sub Pop label since first being signed there over 20 years ago. This (Loser Edition) comes on transparent yellow vinyl and will hit stores in late April.

Review: Clem Alford's one-shot project presents a captivating fusion of Westernized ragas, featuring Alisha Sufit's enchanting vocals and Jim Moyes's psych-leaning guitar elements. Tracks like 'Alan's Christmas Card' and 'Black Cat' showcase the unique blend of Indian instruments with Western touches, while 'La La' and 'Take Away Kesh' delve into more traditional compositions. This album serves as a fascinating historical piece, highlighting the skill of Alford and Moyes in blending Indian and Western sounds. Recommended for fans of indo-prog and world music, it captures a technical zeitgeist at the intersection of cultural influences. With its creativity and historical significance, this album earns high marks for cultural reasons as much as musically.

Review: Meril Wubslin's fourth album, Faire ca, is a daring musical odyssey that ventures into uncharted territories with fearless creativity. Recorded in Kwake Bass' South London studio, this nine-track masterpiece defies genre boundaries, seamlessly blending blues, folk, post-rock, and dub to create a unique sonic landscape. Collaborating with Kwake Bass, known for his groundbreaking work with Sampha and Kae Tempest, Meril Wubslin fearlessly explores unfamiliar soundscapes. From the intimate blues and folk-inspired 'Grands Espaces' to the experimental fusion of 'La Main' and the electro-blues percussion of 'Famille Phare,' each track showcases the band's innovative spirit and exceptional musicianship. With its bold experimentation and captivating melodies, 'Faire ca' promises enduring musical rewards for listeners and solidifies Meril Wubslin's position as pioneers in the realm of avant-garde music. This album is a must-listen for anyone seeking a fresh and exhilarating musical experience.

Review: Nico's Marble Index was the first album to establish the German musician's home in the avant-garde; the story of the fashion model turned "legitimate" artist is as old as time, yet is rarely told today. In contrast to her first album, Chelsea Girl, which consisted almost entirely of pop chansons, Nico's sophomore LP here tracks nicely with her working introduction to John Cale in his harmonium era, drawing inspiration primarily from modern European classical music, not three-minute hookcraft. Long out of print, this slow-burner of a critical classic now hears a worthy reissue via Domino.

Review: As part of a new looking back on German art rocker Nico's esteemed career by the indie label Domino, Desertshore chronologically follows The Marble Index, and is her third album, following the prior project's establishing her as an avant-garde artist with one foot in the mainstream, in stark defiance of the the prejudiced poo-poohs that followed her first (baroque pop) album, Chelsea Girl. Desertshore is more of a reconciliation of her prior two projects, bringing back the initial western pop sensibility while now firmly basking in a newfound weirdness-and-she-knows-it. From the opening dark waves of 'Janitor Of Lunacy' to the piano-balladic injection of sadness that is 'Afraid', this is another avant-garde masterpiece by the musician, never justifiably passed over.

Review: Tara Jane O'Neil's latest album, The Cool Cloud of Okayness, is a poignant reflection on transformation amidst adversity. Recorded in the aftermath of the devastating Thomas Fire, the album embodies resilience and renewal. O'Neil's ethereal vocals and spectral guitar work are complemented by a talented ensemble, including drummer Sheridan Riley and multi-instrumentalist Walt McClements. Together, they craft a sonic landscape that blurs boundaries between genres, challenging easy categorization. The album's themes of grief and hope are palpable, underscored by deft production and rock-solid bass lines. Each track feels like a journey, offering both solace and introspection. The Cool Cloud of Okayness is a powerful album of music used to heal and inspire, reminding listeners that even in the darkest moments, there is light and possibility.

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Review: Phosphorescent is recognised as something of a key player in the current indie scene. Based right now in Nashville, Tennessee, he has been away for the best part of half a decade but now makes a sweet return much to the delight of fans and critics alike. Back in 2022 his covers album Full Moon Project showcased all of his most prominent inspirations and influences with versions of music by the likes of Bee Gees, Bob Dylan and Nina Simone. The self-taught producer and a constantly inquisitive creative now goes deep on new record Revelator which is "a meditation on all that he's learned about life and all that is still unknown".

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: Though he was already famous, Either/Or is the album that made Elliott Smith great. Now Kill Rock Stars proudly present their newly reissued, expanded edition of the sensitive songster's crowning glory, this time including five live multi-track recordings from the Yo Yo A Go Go Festival in Olympia, WA in 1997, as well as three previously unreleased studio recordings, not to mention one B-side gem. The album was highly praised at the time due to several of its songs' lucky inclusion by Gus Van Sant in the classic drama movie Good Will Hunting, though the album's appeal goes much deeper than that, with Smith's melancholic, sombre voice soaring low above well-glued, unplugged pop mixes, though, typically for Smith, it still touches on existential, philosophical and neurotic themes throughout.

Review: Alan Stivell (Breton for 'gushing spring'), born January 6, 1944, is a French singer songwriter and musician. He campaigns for the recognition of the Breton people with their language, culture, and territory. He is, above all, a multi-instrumentalist: mainly Celtic harp, but also piano and keyboards, Irish flute, bombard, Scottish bagpipes and even percussion. Since the 1950s, thanks to his father's work, Stivell has helped revive the Celtic harp in Brittany; Renaissance De La Harpe Celtique does what it says on the tin; a thoroughly mystical and atmospheric album, the long-player comes packed with Celtic pentatonics, dewey field recordings, and, above all, mellifluous harp, all of which segue together to form an implicit instrumental picture of a Breton people in harmony with nature and spirit, making for a benchmark project in the Celtic folk revival of the 1970s.

Review: Nimbus by Sunburned Hand of the Man is a special journey into the band's enigmatic world, that is an ever-evolving experimental project. Recorded during a wintery week of sessions in Turner's Falls, MA, the album exudes a familial warmth and creative spontaneity as band members come together in a cozy setting to cook meals, reminisce, and make music. The album's sonic landscape is rich and varied, blending elements of psych-rock, spoken word, and instrumental improvisation. From the jaunty earworm Ishkabibble Magoo, featuring Phil Franklin's witty wordplay and infectious melody, to the haunting poetry-based pieces like 'Consider the Wound,' read by Peter Gizzi, the album traverses a wide emotional spectrum. Instrumental tracks like 'The Lollygagger' and 'Brainticket' showcase the band's musical dexterity, with dreamy synths, swirling guitars, and hypnotic rhythms creating immersive sonic textures. Each track feels like a sonic exploration, with layers of sound intertwining to create a captivating listening experience. Nimbus is a kaleidoscopic collage of sound and imagery that defies categorization and invites listeners to immerse themselves in Sunburned Hand of the Man's unique musical universe.

Review: Scottish band Texas have announced the release of their new album, The Muscle Shoals Sessions, which is a collaboration between Texas and American songwriter and pianist Spooner Oldham and was recorded at the renowned Fame Recording Studio in Muscle Shoals, Alabama. The album features 12 of Texas' greatest hits, reimagined with Oldham's delicate piano lines. The result is a stripped-back, timeless sound that allows each track to shine. The album also includes two covers: 'Would I Lie To You' by Charles and Eddie and 'Save The Last Dance' by The Drifters. Texas described the album as 'like nothing we've ever done before,' and it is sure to be a must-listen for fans of the band and lovers of classic songwriting.

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: Delia Recordings is a new micro-label from Nottingham that launches into the world with this very tidy new album, Then Horizon Is On The Horizon. It's a various artists collection of absorbing works curated, mixed and produced by lifelong gear collector Matt Horobin and it comes on vinyl and CD and includes postcards. The tracks are all taken from three upcoming albums the label is working on by artists Brown Fang, Torn Sail and Shrinkwrap, and bridge the gap between the local evolving Balearic scene and Laurel Canyon escapism. Gentle grooves, downbeat dub and delicate drones all feature.

Review: Waxahatchee, the solo project of Alabama-born and Kansas City-based Katie Crutchfield, returns with her most confident and resilient album to date. Boosted by lead single '365', shortly followed by 'Right Back To It' and 'Bored', Tigers Blood follows an avowed 'hot hand spell' experienced by the artist while on tour at the end of 2022. But despite the enjoyment, Tigers Blood emotes in many different directions, dealing in every theme from codependency to ennui - that is, between the cracks of joy. A contemporary alt-country rock delight, Tigers Blood hears Waxahatchee do pop music right.