Two Runner have shared “Roadrunner”, the latest single from “Porchlight”, out 28th August via Gar Hole Records. Filmed by Ian Fuenzalida, the accompanying video follows Paige Anderson down the backroads on a dirt bike, with the song’s chorus urging you to “jump on over the line, like a roadrunner making up time.”

Jake Xerxes Fussell has announced a new album, “The Old Beloved Path”, out September 18th via Fat Possum, and shared lead single “Rock Island Line” — a folk standard he’d long avoided until a Lonnie Donegan recording drew him in, marrying it to an old English nursery rhyme until it felt like his own.

Cinder Well’s “A Blooming Body” is the closest we’ve been to witnessing Amelia Baker’s unique vision in full — her first time handling the processes behind making an album, and the greater creative control shows. Her talents have never been in doubt, but here they are more evident and more varied than ever: raw, richly detailed, full of hidden musical depths.

Sairie premiere the video for “Harder Than It Seemed”, the first single from their debut album “Beneath the Spreading Tree”. Drawing influences from 70s folk, the Brighton trio’s stripped-back arrangements emphasise Emma’s striking vocals, lending an otherworldly, transportive beauty to their sound. KLOF has followed them since 2020, and this first full-length release marks a significant milestone, out 12 September.

We’re premiering Josaleigh Pollett’s “Bed of Quiet,” the final single before the release of their forthcoming album. Written across eight thousand miles with producer Jordan Watko, it pairs guitar crunch and percussive grooves with ambient production and samples from Chris Walla — an over-thinker’s anthem for the sleepless, and the only time Watko sings on the record.

On “Home Fires Burning”, his most Scottish album to date, Adam Beattie digs deep into his own family history, exploring family, legacy and belonging. An album of home, hopes and dreams, with the message that “for all the things that break and bend, love will last until the end”.

Trá Pháidín announce “Cloch ‘s Claí”, their first album for World of Echo, out 25th September, and share a video for launch track “An Béal Bocht”. Inspired by Myles na gCopaleen’s 1941 novel, the track sets images of Conamara’s empty, derelict dry-stone walls against the collective’s blend of Gaelic tradition, krautrock and free jazz.

Listen to the latest Monday Morning Brew Playlist – Over two hours of music, taking in Ambient, Folk, Singer-Songwriter, Spiritual Jazz, Afrobeat, Latin, Dream Pop, Exotica, Dub / World Fusion, Hindustani & more.

Fourteen tracks moving between Bamako and Belize, Dakar and Geneva. Cymande’s nyah-rock, Orchestra Baobab’s 1975 Afro-Cuban swing, Bonobo remixing Ghanaian funk. Oumou Sangaré and Fatoumata Diawara hold the Malian centre, Songhoy Blues the edge. The Garifuna Collective answer a bird. Sudan Archives folds Sudanese fiddle into her beats, Yalla Miku start funky and end heavy. A cratedigger’s delight.

Emily Portman selects ten objects from her home: her grandpa’s Mexican pottery owl, the mask she wore to become Blodeuwedd on the “Dominion of Spells” photoshoot, and a wedding ring cut in half by a spade and returned twenty years after it was lost. The stories behind them are quite magical.

Sam Blasucci premieres his video for “Creature”, the latest single from his new album “Black Rose”, out 21st July on DoublePlay Records. Recorded mostly in the middle of the night in Ojai, the ten-track album is an invitation into shadow and a darkness that could be groovy. It follows April’s 28-track double LP, “Physical Dream”.

Adrian Crowley’s “Quinn The Adventurer” follows James Quinn, who left Belfast in 1920, surfaced in Hollywood as a silent-film extra, and was sentenced to San Quentin over a collection of shrunken heads. Out today on Dimple Discs with Bring Your Own Hammer, it precedes “From The Tombs”, a 21-song double album on the history of crime, law and order in Ireland and its diaspora.

Inviting a sense of ultimate calm, Luluc’s “Sweet Thief” is a gorgeous, contemplative exercise in quiet isolation and self-reflection. Randell’s vocals mirror those of the calmest stream, barely creating a splash, with J Mascis adding percussion. Ten songs that embody a lighthouse in a storm, a point of connection anybody can relate to.

Sailing Stones’ “Slow Magic” is one of the most satisfyingly complete collections of songs I have heard this year. Built around matrescence, the transitions a woman goes through at the time of bringing new life into the world, the whole record plays like a kaleidoscopic whirligig, shimmering in and out of focus, crafted with a crackly analogue, hands-on human touch. Her best album yet.

On “Pt. Roadknight”, Leah Senior leans into the hazy fog of late-sixties, early-seventies folk rock, recorded with a natural analogue texture that lends these songs a human touch. It turns its inward gaze outward, offering her reflections with a clarity of purpose. As she reminds us in ‘Talk To Me,’ there is a fine line between focus and withdrawal, and this album walks it with rare grace.

Radie Peat of Lankum and ØXN releases her debut solo single, “Still I Love Him”, via Rough Trade. John Francis Flynn found the song in the Irish Traditional Music Archives and wrote a new melody; Peat reshaped it around her contralto, holding elation and devastation at once. Robbie Mailler Howat directs the video.

London cellist midori jaeger shares “hunted”, the second single from her new EP “(Re)planted”, out 26th August. Built around the piano rather than her pizzicato cello, it trades rhythmic push for something smoother and more rippling. “(Re)planted” follows this year’s “(Un)planted”, turning her groove-led writing softer and more expansive as she transmutes a life of uprooting and replanting into song.

Elanor Moss shares the video for “The Way That it Feels,” the second single from her debut album “The Knife, The Needle,” out August 21st on Merge Records. Sung over birdsong and classical guitar, it’s the last song she wrote for the record, and the accompanying video was shot on 16mm film in the Greek Peloponnese by Matthew Thorne.