Glenn Kimpton

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.

Following the release of their bold and confident 2022 debut, Owen Spafford and Louis Campbell were ones to watch and their follow-up confirms this; “Tomorrow Held” is a beautifully constructed album that swings from calm and tranquil to the gnarly and abrupt. It is a considerable step forward for Spafford Campbell in terms of creative ideas; they have talent to spare and are not afraid to use it.

On fixe Idee, guitarist Eric Arn puts the mostly unadorned acoustic through its paces. Throughout this eclectic set, there are hints of early Robbie Basho, with a loose and free style of playing conjuring an image of carefree, sepia-toned summer life. It is the sound of an accomplished guitarist playing in his own style(s), and the result is excellent: singular, exciting and adventurous.

Sally Anne Morgan’s Second Circle the Horizon continues in a similar vein to 2021’s ‘Cups’ while leaning gently on some of the slightly broader-sounding arrangements on her other albums. The result is spot on: a quiet, sometimes enigmatic celebration of the purity of nature and life through the lens of versatile music inspired by the Appalachian tradition. It’s her most cohesive and accomplished album so far.

This year sees the end of an era of sorts for Texan instrumentalist Hayden Pedigo, with the release of I’ll Be Waving As You Drive Away completing his ‘Motor Trilogy’. We met to find out more about the making of this ‘bittersweet’ finale. “…it’s far more maximalist. We utilised heavy strings, mellotrons, synths, and bass; there’s a lot more on this record…the compositions are more intense and bolder…”

Some albums just come straight in like a warm sonic hug, and you know you’ll spend a long time enjoying their vibe; Sheffield-based guitarist Bobby Lee and London pedal steel player Joe Harvey-Whyte’s Last Ride is one of these…an ace full-length set dropped by California’s Curation Records. It feels like this album was a lot of fun to make; it’s a total pleasure to listen to.

Solo at Cafe OTO finds Shane Parish reimagining ballads on his Squier Telecaster. Unlike his acoustic Repertoire album, these six tracks are longer, showcasing Parish’s technique and artistic nous. From the leisurely unfolding of John Jacob Niles’ “I’m Goin’ Away” to the jagged edges of David Lynch’s “Sycamore Trees,” Parish imbues each piece with his unique character while the album’s abstract approach provides a freeing, immersive experience.