Canadian indie-folk artist Cat Clyde announces her Concord Records debut, Mud Blood Bone, out March 13. Produced by Drew Vandenberg, the album merges rockabilly grit with raw folk-rock vulnerability. Lead single “Another Time” is out now, exploring Clyde’s Métis roots and the bittersweet nature of constant evolution. She kicks off an extensive North American tour with Boy Golden this spring.

Brooklyn composer more eaze (mari rubio) shares “the producer,” a raw single from her upcoming album ‘sentence structure in the country,’ out March 20th. Eschewing her signature Autotune for a vulnerable, bare vocal, Rubio crafts a delicate arrangement of strings and electronics. The track explores the sublimation of self in production, ahead of her April 15th release show at TV Eye.

Bill Callahan returns with “Stepping Out for Air,” the final preview of his upcoming album. Originally conceived 15 years ago for a project with Jim White and Warren Ellis, the track finally finds its home amidst “Zoloft pines” on My Days of 58. Catch him on his UK solo instore tour starting February 23rd.

Hen Ogledd return with “Clara,” a haunting single from their upcoming album DISCOMBOBULATED. The track blends pastoral beauty with the industrial grit of Northumbria’s mining history. An accompanying surreal video featuring a horse’s journey through 90s gaming nostalgia and medieval texts offers a psychedelic prelude to their immersive Valentine’s Day album playback and disco at Newcastle’s Star and Shadow.

Under his “Mind Over Mirrors” moniker, Jaime Fennelly returns to a solo setup on Particles, Peds & Pores, a meditative departure from his previous ensemble works. Blending harmonium with pulsating electronics, the album evokes organic, pastoral landscapes reminiscent of Craven Faults. From the ecclesiastical drones of the “Blank Vessels” trilogy to the sci-fi urgency of “Sulphur Firedots,” Fennelly delivers a deeply satisfying, patient, and immersive sonic journey.

The Wave Pictures return with “The House Painted Blue,” a surrealist pop masterpiece from their upcoming album Gained / Lost, out 27th February via Bella Union. Blending Allman Brothers-style guitars with Kafkaesque lyricism, the track captures a weightless, joyful depth. Following a sold-out London show, the trio will embark on an extensive UK and European tour throughout the spring.

Fueled by a traumatic breakup and the fragility of new beginnings, Valentine is Courtney Marie Andrews’ most vulnerable and sonically adventurous work to date. Drawing on influences like Tusk and Big Star, the album navigates emotional extremes through lush instrumentation and “nakedly exposed” vocals. It is a powerful reclamation of self-worth that uses music to transform dark-night-of-the-soul pain into transcendent art.

Fiona Lucia’s Phoenix Waltz is a strikingly intimate debut, blending folk, soul, and jazz with the adroit orchestration of Bjork or ANOHNI. Her voice—reminiscent of Billie Holiday’s restraint and Aretha’s punch—navigates themes of trauma and transcendence. From D’Angelo-esque harmonies to soaring, self-recorded strings, this is a heart-wrenching, hypnotic journey that pulses between quiet yearning and powerful, analogue soul.

This week’s Brew opens with Cape Verde’s “Barefoot Diva,” Cesária Évora, bringing the melancholic soul of morna. We also feature Lhasa de Sela’s haunting blend of folk and ranchera. New highlights include Julianna Barwick and Mary Lattimore, Jana Horn, and Lande Hekt, plus L.Y.R. and The Notwist’s vibrant, percussive reimagining of “How the Story Ends.” Dive in.

John Blek’s tenth album, The Midnight Ache, is a sublime, lo-fi journey into vulnerability. The record balances melancholic “insomniac hours” with a hopeful move toward the light. Featuring lush strings and dreamlike arrangements, it’s a beautifully crafted transition from past shadows into a brighter, more domestic musical landscape.

UK songwriter Lande Hekt returns January 30th with her third album, Lucky Now. Produced by Matthew Simms, the record fuses her signature indie-pop with 80s jangle-pop influences. The title track and video, filmed in Scarborough, serve as a moving exploration of personal freedom—marking a shift toward a more grounded, grateful perspective for the underground staple.

Anna McLuckie’s ‘The Little Winters’ is a profound exploration of Cianalas—a deep, Gaelic sense of displacement. Her lead single, “Bitten Winter Skin,” serves as the record’s intellectual and emotional anchor, traversing the seasonal frosts of the soul and transforming the bitterness of transition into a resilient botanical metaphor.