Lemoncello is one of those records that has a binding sound all the way whilst boasting an incredible range of tones, moods, and textures within each individual song…an ethereal, harmonious, ever-shifting sheen of a topcoat gliding across a tense, grinding underbelly of distortion and vibration.
Locust Land, Bill MacKay’s third solo outing for Drag City, is his most diverse yet, but also his most harmonious and satisfying, which is high praise, considering the quality of his past releases.
On Hex, Jon McKiel absorbs and repurposes a whole host of genres, but the overall sound – a trippy, fuzzy-edged pop – is strangely consistent, while the songs come from the realm of dreams, their edges softened by sleep but their message sharp and bright.
Irish quartet Landless share their new single and video “Death and the Lady”, adapted from the singing of Norma Waterson who believed that the singing of it may have dated back to the time of the Black Death plague in the fourteenth century.
Watch the new visualiser from the genre-bending folk and electronic collective Remorae for ‘Greyfriars’ – An elegy to lost land and a love letter to coastal Suffolk.
On her long awaited third solo album Wanderer, Ruth Moody’s striking vocals sketch out true life moments with a warm intimacy that stays with you long after the album’s end.
Watch Leeds-based septet Awen Ensemble performing three tracks from their debut album, Cadair Idris. The session was recorded live at Yellow Arch Studios in the industrial heartland of Sheffield.
Jake Xerxes Fussell shares ‘Leaving Here, Don’t Know Where I’m Going’ from his forthcoming new album – “This song is from the ‘lonesome road’ family of songs, which there have probably been about as many variations of as there have been people to sing them”.
It’s unusual to encounter a debut full-length album with as much confidence and clarity as Malin Lewis’s Halocline, which is also a work of subtle, nuanced beauty. We met with the Scottish piper to learn more about it.
Halifax, Nova Scotia’s Nap Eyes return with two new songs that bookend their history as a band: Ice Grass Underpass and Feline Wave Race are themselves concerned with marking, attenuating, and collapsing time.
Convention has never been a preoccupation of either Jennifer Walshe or Tony Conrad, and In the Merry Month of May is unusual even by the standards of contemporary experimental music. It works as a showcase for two genuine greats improvising with fearless abandon.
Oren Ambarchi, Johan Berthling, and Andreas Werliin share their new music video for “Två”, directed by Cédrick Eymenier, taken from their latest album, Ghosted II.
