Juni Habel releases ‘Pearl Cloud Song,’ a lush instrumental from her forthcoming album “Evergreen In Your Mind,” out 10th April on Basin Rock. Born from an open tuning discovery, the track layers steel-string guitar with Herman Wildhagen’s pedal steel and distant vocal traces — a beautiful, unhurried piece from one of folk’s most compelling new voices.

Sam Grassie’s debut album, “Where Two Hawks Fly”, arrives after years of adversity — life-threatening injury, debilitating illness and personal tragedy — and sounds all the more remarkable for it. His guitar playing is deft and unshowy, worthy of hero Bert Jansch, while collaborators help shape something deeply assured, generous and communal.

Magic Tuber Stringband share “Where the Place Becomes Forgetting,” a gorgeous single from their upcoming album “Heavy Water”. Featuring field recordings from a pond on the edge of a nuclear site in Northern Georgia, the track layers steady banjo and guitar riffing with fraught fiddle swoops — watch the intimate live performance video now.

The Huntress and Holder of Hands have announced ‘Babylon’, their second album, due June 5th. A decade on from their debut ‘Avalon’, MorganEve Swain’s project — born from the loss of her husband and musical partner, Dave Lamb (Brown Bird) — returns heavier and fuller, grappling with corruption, redemption and hope. Dark-hued new single Promethean is out now.

Gun Outfit have shared the video for So Easy To Love, the latest single from their double album Process & Reality, out 8th May via Upset The Rhythm. Shot on Super 16mm by Joe DeNardo, the video draws on footage from an experimental western. The track is the most atmospheric and captivating moment on the new album.

Plankton Wat’s “The Vanishing World” is a belter – a love letter to the era of the big studio album. James Shaver’s killer bass lines power mercurial instrumentals, while drummer Dustin Dybvig and trumpeter Victor Nash inject pure joy. At times high-octane, at others low-key and sparse, the creativity on show is hugely satisfying.

Lemoncello announce their second album “Perfect Place,” out May 8th via Claddagh Records, and share the video for new single “Articulate Animal.” Co-produced by Ruth O’Mahony Brady, the album evolves from the duo’s folk-soaked debut into bolder sonic territory, weaving synths and electronic percussion into their organic sound. UK tour dates in May include shows supporting Joshua Burnside, plus Deer Shed and WOMAD.

Hiss Golden Messenger shares “Shaky Eyes,” the second single from forthcoming album “I’m People” (May 1st, Chrysalis Records), alongside a new video. An ode to MC Taylor’s California origins, the track features soulful vocals and rootsy guitar picking, finding beauty and humanity in life’s everyday struggles while gambling on the possibility of change beneath big western skies.

Mikey Kenney has shared the video for “On A Blue Day,” the latest single from his acclaimed album “Tiny Little Light.” A tribute to fiddle music and the players of days past, it treats the instrument as a spiritual vessel — a prayer wheel, as the lyric has it, that throws all the notes to the wind. Filmed in Cornwall, the video accompanies a spring UK tour.

Fruit Bats announces The Landfill, a vibrant full-band album due June 12th via Merge Records. Following the stripped-back solo outing Baby Man, Eric D. Johnson reconvened his touring band at Bear Creek Studios – watch the conceptual video for the title track, directed by Adam Willis.

Frog announce their eighth studio album, Frog for Sale, out April 17th via Audio Antihero — their third record in just fourteen months. Lead single “Je Ne Sais Pas” is out now. “This is an album about how money sometimes gets in the way of love,” says Daniel Bateman. The band head out on US dates, with UK shows in September.

Cole Berliner has signed to Drag City for his debut solo album, The Black Door. The title track is out now with a music video by Fred Joseph. He says, “The inspiration was drawn from the mystical sounds of American (and proto-American!) folk music and swing, filtered through the lens of heart-string pullers like Bert Jansch and Jim O’Rourke, and carved into something both personal and simultaneously universal.”

Rob Mazurek has released Alternate Moon Cycles Live at The Land School, a Qobuz-exclusive live recording documenting his reunion with Matthew Lux and Mikel Patrick Avery at International Anthem’s Southside Chicago headquarters. Alternate Moon Cycles was the very first release in the IA catalogue — and its return, eleven years on, carries the weight and resonance of ceremony. Watch the film by Brian Ashby.

Another fine playlist to begin your week, featuring Andrew Wasylyk, Slow Leaves, John Andrews & The Yawns, Robert Lester Folsom, Mari Mathias, Plankton Wat, Joshua Burnside, Marisa Anderson, Mitski, The Wooden Wolf and more. Plus, the new single from Rónán Ó Snodaigh and Myles O’Reilly…watch the new video.

KLOF’s new mixtape gathers thirteen tracks around a shared quality of patience and drift — from Juni Habel’s Nordic folk opener, Joshua Burnside’s haunting evocation of personal loss, to the closing shimmer of Félicia Atkinson & Christina Vantzou. The Notwist appear twice, and a trio recording from Whitney Johnson, Lia Kohl and Macie Stewart is an unmissable highlight.

Glyders have shared a new video for Super Glyde, the electrifying opener from their latest album “Forever,” and announced European and UK tour dates for April and May. Directed by Eon Mora, the clip channels Jarmusch and Coppola into a tense, almost-Jungian visual trip — a fitting companion for a band firing on all cylinders.

Whitney Johnson, Lia Kohl, and Macie Stewart today release their debut trio album BODY SOUND via International Anthem. Assembled across sessions in Chicago and Knoxville and shaped using analog tape machines, the album is deep, melancholy, and triumphant — a stunning collection from three of the city’s most compelling experimentalists. New single burning | counting (sleeping) is streaming now.

Simon Joyner shares Vagabond, the first single and video from Tough Love, his nineteenth studio album. Following the direct grief of 2024’s Coyote Butterfly, Joyner refracts tough love through fictional relationships — romantic, familial, political — with acoustic songs prodded by electric guitars, rock tracks channelling the Velvet Underground and Can, and a devastating twenty-minute closing title track.