Discovering new music in an increasingly fragmented, bland digital landscape, driven by ever-changing algorithms and an increasingly scary amount of AI-generated music (around one-third of the music uploaded to streaming platforms), can be a challenge. We hope that over the last year, KLOF Mag has brightened your day a little by introducing you to some new sounds as we continue to seek out the new and exciting.
In 2025, we saw quite a jump in our readership, which is excellent, but it may surprise many to know that we are actually financially supported by just a tiny fraction of our readers, way less than 1%. Every year, it becomes harder to be heard, so for 2026, we have a simple request. Please try to support us.
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Before the big list, if you haven’t seen them yet, make sure you check out Thomas Blake and Glenn Kimpton’s Top 10 Lists; they are two very busy writers. You can find them here: Tom’s Top 10 | Glenn’s Top 10.
The list below is not ranked or in any particular order. That’s intentional. Take your time with it. The text provides review highlights, but I encourage you to delve deeper and enjoy those reviews in full; for that reason, every title is linked to the original review. Virtually every release includes a Bandcamp embed, so take time to listen, buy music and support the artists.
This is the music I spent the most time with in 2025. I hope you enjoy it.
Lastly, I start with my Top 100 albums, the final page (page 11) features 10 extras, covering Live/Compilation/Reissues.
Joe Westerlund – Curiosities from the Shift (Psychic Hotline)
Percussionist Joe Westerlund (one-third of Setting) completes his solo trilogy with Curiosities from the Shift. Veering away from the loose improvisation of previous releases, Westerlund anchors this record in the “clave,” creating a rich tapestry of sound defined by deep grooves and rhythmic precision.
The album is a treasure trove of texture. Peebles ‘n’ Stones recalls the meditative pulse of Natural Information Society, while Fone blends sturdy percussion with violin contributions from Libby Rodenbough and Chris Jusell. Elsewhere, Sam Gendel’s warped saxophone haunts the eerie A Trance Delay before taking centre stage on the euphoric closer Felt Like Floating. It is an album that prioritises listening pleasure over academic theory—a “super-cool,” technically deep exploration of rhythm that demands multiple spins.
Macie Stewart – When the Distance is Blue (International Anthem)
When the Distance is Blue, Macie Stewart‘s International Anthem debut, feels cerebral and improvisational, rooting itself deeply in landscape rather than conventional song structure. Directly influenced by Rebecca Solnit’s A Field Guide to Getting Lost, the album leans into long-form soundscapes, often foregoing vocals for field recordings and instrumental exploration. Themes of movement, loss, and colour permeate the tracks, from the clattering prepared piano of “Spring Becomes You” to the sweeping strings of “Murmuration/Memorization”. Stewart captures a palpable tension between the urge to disappear into vast swathes of colour and the grounding pull of the human aspect. It is a compelling work of single-minded artistry that balances meditativeness with deep emotional resonance.
Big Thief – Double Infinity (4AD)
Following a genuine masterpiece is never easy, especially after losing a core member. Yet, Big Thief’s Double Infinity rises to the challenge by evolving rather than repeating. Leaner than the sprawling Dragon New Warm Mountain I Believe In You, this nine-track collection effectively expands the lineup to a thirteen-piece, including ambient pioneer Laraaji.
Laraaji’s influence permeates the record, adding a distinct New Age texture to the band’s interplay of “woozy, billowing layers and tight, clipped percussion.” Adrianne Lenker remains unsurpassed in synthesising the spiritual and carnal, while Buck Meek’s guitar provides the necessary grit. Double Infinity is a bold step forward—a record defined by melodic innovation, collaborative spirit, and, most importantly, a gigantic heart.
Cynefin – Shimli (Recordiadau Smotyn Du)
Owen Shiers, aka Cynefin, returns with Shimli, a deeply accomplished follow-up to his 2020 debut Dilyn Afon. Shiers is as much a cultural historian as a musician, and Shimli serves as a “musical petition” to preserve fading Welsh traditions—the title itself recalling an old custom of farmers gathering to sing.
The album explores themes of loss and memory, from the decline of lapwings on Cornicyll to the derelict industry of Pont Llianio. These meditations are framed by intricate fingerpicked guitar, stark harp lines, and Shiers’ earnest, plaintive vocals. Accompanied by extensive bilingual notes, the project feels like a vital historical artefact. Ultimately, Shimli is a passionate, dynamic collection that cements Shiers as a unique and generous voice in modern folk.
Joseph Decosimo – Fiery Gizzard (Dear Life Records)
North Carolina old-time musician Joseph Decosimo evokes a timeless, almost otherworldly atmosphere on Fiery Gizzard. Leaning into the “weird and psychedelic” side of the genre, the album transforms traditional tunes into mesmerising new soundscapes. A standout is the seven-minute version of “Shady Grove,” where synth drones and Jay Hammond’s shimmering electric guitar create a hypnotic depth.
Although ostensibly a solo project, the record thrives on a “trusting open-door policy” of collaboration. Guest fiddler Stephanie Coleman injects life into the hazy “Ida Red,” while “Flowery Girls” evolves into a delightful “junkshop jam” via fretless banjo and tube amps. Blending the ancient with the ethereal, Decosimo proves himself a master interpreter and bandleader. Fiery Gizzard is an energetic, joyful, and deeply enchanting listen.
Me Lost Me – This Material Moment (Upset The Rhythm)
Jayne Dent, aka Me Lost Me, shifts from high-concept themes to personal introspection on This Material Moment. Influenced by a workshop with experimentalist Julia Holter, Dent embraces automatic writing and chance, resulting in her most immediate work yet. The album serves up a “hauntological platter of glitched avant-electronica,” anchoring experimental textures with her distinctive North East vocals and underlying pop sensibilities.
Despite the electronic surface, Dent remains a folk storyteller at heart, exploring art, landscape, and the power of stillness. From the intense Compromise! to the a cappella beauty of A Souvenir, the record balances storminess with wisdom. Have You Been Changing? closes an album that pulls atavistic responses from contemporary ingredients—a stunning collection of “folk songs for the absolute present.”
Poor Creature – All Smiles Tonight (River Lea)
Emerging from Dublin’s thriving experimental folk scene, Poor Creature (featuring members of Landless and Lankum) delivers a powerhouse debut with All Smiles Tonight. Born during lockdown and honed through improvisation, the album blends Ruth Clinton’s unmistakable vocals and Cormac MacDiarmada’s aching delivery with “muscular production” by John ‘Spud’ Murphy.
It is a visceral experience; tracks like Adieu Lovely Eireann and the Louvin Brothers cover Lorene navigate themes of loss through a unique sonic lens, mixing traditional instrumentation with industrial drones and a “creepy kind of beauty.” From the throbbing pulse of the opener to the lysergic, ten-minute epic Willie-O, Poor Creature masterfully harnesses tension. Straddling darkness and light, they pick apart and reassemble the very idea of folk music into something utterly compelling.
Sam Amidon – Salt River (River Lea)
Released on the forward-thinking River Lea label, Sam Amidon’s Salt River is arguably the most fully realised solo work of his career. Here, Amidon continues his quest to recontextualise folk music, blending raw acoustic textures with avant-garde electronics and found sound. Collaborating with saxophonist Sam Gendel and percussionist Philippe Melanson, the trio adopts a loose, improvisational approach, infusing the record with a distinct jazz spirit.
The material is deliciously eclectic, ranging from the drone-heavy mysticism of I’m On My Journey Home (recalling Lankum) to reimaginings of Yoko Ono, Ornette Coleman, and a deconstructed take on Lou Reed’s Big Sky. Salt River is a groundbreaking, spirited adventure—a kaleidoscopic experience that demands a deep dive to fully appreciate its hidden layers of sonic wonder.
Shabason, Krgovich, Tenniscoats – Wao (Western Vinyl)
Japanese lo-fi icons Tenniscoats joins forces with Canadian avant-pop duo Joseph Shabason and Nicholas Krgovich on Wao, a record that sits happily in the “borderland between the cute and the strange.” Recorded in just two days at Kobe’s Guggenheim House following a 2024 tour, the album radiates improvisational spontaneity and “deliciously original melodicism.”
The chemistry is instant. Whether on the nursery-rhyme playfulness of A Fish Called Wanda or the rainy-day atmospherics of Shioya Collection, the quartet blends soft-focus sax, rich vocals, and open-hearted experimentation. Krgovich finds magic in the mundane, while Saya’s voice shifts effortlessly between tension and sweetness. Wao is a wise, beautiful confirmation that distinct musical worlds can collide to create something wonderfully new without losing their individual potency.
Màiri Morrison and Alasdair Roberts – Remembered in Exile (Drag City)
Reuniting over a decade after their acclaimed debut Urstan, Scottish folk stalwarts Màiri Morrison and Alasdair Roberts venture across the Atlantic for Remembered in Exile. Subtitled Songs and Ballads from Nova Scotia, this collection draws from the archives of folklorist Helen Creighton to explore the deep cultural lineage binding Scotland and eastern Canada.
The album deftly balances English and Gaelic traditions, blending “loping DIY folk” with moments of ancient intensity. Andrew Killawee’s harmonium adds a powerful, experimental drone to tracks like Uilleam Glen, while the electric guitar-led The Bonny House of Airlie leans into a distinct folk-rock sound. Anchored by bassist Pete Johnston, the chemistry between Morrison and Roberts remains potent—a striking lesson in wringing intense emotion from minimal ingredients.