Glenn Kimpton

By no means overshadowing Blue Lake’s previous album, Weft, The Animal instead provides further proof of Jason Dungan’s ambition and ability as a musician and now bandleader. A record celebrating human collaboration and the beauty of life and nature, The Animal sees Blue Lake push its sound into new realms, once again surprising and delighting—a wonderful, uplifting instrumental album.

Bergamo-based guitarist Buck Curran’s Far Driven Sun is an intensely musical, layered set celebrating his reunion with a 1990 Stefan Sobell ‘Butterfly’ acoustic guitar. From the intimate “Vignettes” to the subtly dynamic “Bells” and the buoyant “Unicorn Song,” it showcases Buck’s exquisite touch as a player and recording artist. It’s a highly accomplished album, made with love and performed with the utmost skill and intricate musicianship.

Mason Lindahl’s meticulous dual-release presents a captivating study of ambient texture and place. Recorded in California (Joshua) and Iceland (Same Day Walking), the albums’ distinct sonic palettes—one “woolier and warmer,” the other starker—are inseparable from their locales. Lindahl’s singular nylon string guitar style, with its complex picking and judicious synth/organ touches, finds both intimacy and an otherworldly feel in an album of outstanding guitar music.

As with past compilations in this celebrated series, Imaginational Anthem vol. XIV : Ireland is a wonderfully diverse, quietly exciting set of songs. Cian Nugent, Caoimhe Hopkinson, NC Lawlor, Aonghus McEvoy, Junior Brother, Sean Carpio, David Murphy, Brenda Jenkinson, Damian O’Neil, Mark McKowski & Jerome McGlynn all make valuable contributions to a set that is a testament to the versatility of the guitar and an absolute pleasure to listen to.

Featuring Nathan Bowles, Jaime Fennelly and Joseph Westerlund, “at Public Records” is the latest live album from Setting, on which all four pieces stand out in very different ways, but together make a whole that is one hell of a listening experience. A worthy conclusion to a trio of live albums that feel as relevant and accomplished as their debut album, Shone a Rainbow Light On.

Gwenifer Raymond’s third album, Last Night I Heard the Dog Star Bark, fuses folk horror with the cosmic. From the complex guitar prowess of “Jack Parsons Blues” to the eerie sounds of “Banjo Players of Aleph One,” Raymond’s new work is a natural progression of her sound that raises the instrumental acoustic guitar album to new heights and delivers something new. It’s another banger from this excellent guitarist.

Jens Kuross’s Crooked Songs is by far his warmest and most intimate-sounding yet. It plays out with the sound of Jens moving around in his kitchen; the teaspoon clinks against the cup; the floor creaks. It is the sound of life and a perfect way to end such a raw, bold set of songs that are quietly profound and powerful in their unvarnished delivery. This album is something special.

Sarah-Jane Summers and Juhani Silvola’s “How to Raise the Wind” presents a collection of beautifully crafted chamber folk music inspired by Scottish and Norwegian folklore. The acclaimed duo blends intricate violin with dynamic guitar, supported by a talented guest quintet. Each track offers a unique listening experience, from high-energy compositions to serene, atmospheric soundscapes. The result is a rich and diverse musical journey that achieves true beauty and depth.

A profound and meditative forty-minute journey, Nathan Salsburg’s solo acoustic guitar album, Ipsa Corpora, is a testament to his creative and technical prowess. This deeply personal work challenges genre norms as Salsburg’s masterful playing explores moods from the melancholic to bucolic joy, with every note meticulously crafted for a captivating listening experience.

Jake Winstrom’s third album, RAZZMATAZZ!, is a masterclass in musical restraint. The former frontman of Tenderhooks opts for a stripped-back sound, allowing ten tightly written songs to shine. From the fingerstyle guitar of “This Blue Note” to the Springsteen-esque rock of “One More for the Moon,” Winstrom confidently explores new sonic territory. This is a fresh, clean, and deliberate album that’s a pleasure to hear.

North Carolina’s Joseph Decosimo leans into the weird and psychedelic side of Old-time music on Fiery Gizzard. Traditional tunes are reimagined with a trusting, open-door policy for collaborators, which includes Stephanie Coleman, Matthew O’Connell, Jay Hammond and Andy Stack, blending fiddle and banjo with synth, electric guitar, and percussion. The result is an energetic, enchanting, and often joyful set that feels both timeless and otherworldly; it’s a truly delightful listen.

On Music for Writers, his first solo instrumental album, Steve Gunn masterfully blends guitars, synths, and field recordings from his travels. The album blurs the line between performance and nature, or life, resulting in music that ‘listens as much as it speaks.’ The pure, meditative sound features beautiful guitar parts that shift from innocent to anxious, creating an immersive experience that invites close listening and encourages stillness and calm.