Glenn Kimpton

Open Guitar (Volume One) marks a return of sorts to a simpler sound for D.C Cross, celebrating peace through acoustic mastery. Blending improvisation with composition, the album offers spacious, meditative soundscapes. From the urban nature-infused Antwerp Kangaroo to the epic NEVER GIVE UP OR IN., Cross displays a lightness of touch that proves calm can be found within chaos. A welcome, honest gesture.

Mikey Kenney’s latest album, “Tiny Little Light,” is a bold, big-hearted triumph, balancing traditional fiddle music with the more experimental, idiosyncratic side of folk. Liverpool-based Kenney crafts a soundscape that is both intimate and expansive. From the village-folk energy of “Scarecrow Festival” to the rocking “The Dish and the Drain,” the irresistible interplay between Kenney’s fiddle and guest musicians make this a remarkable, smile-inducing release.

Recorded live in Montreal, this essential 10” vinyl split from Carbon Records/The Annex Blues Society offers two exhilarating, distinct sides. Side A features Sam Shalabi’s intricate, fast-paced solo oud improvisation, blending melody with technical mastery. On the flip, Liam Grant and Mike Gangloff deliver a crisp, energetic duo performance of “Salmon Tails up the River,” transforming Grant’s original solo guitar piece with intuition and drive.

Completing his solo trilogy, percussionist Joe Westerlund moves away from loose improvisation toward sturdy, irresistible grooves on Curiosities from the Shift. Inspired by the foundational clave pattern, this record weaves a rich tapestry of metallophones, electronics, and deep bass. It is a treasure trove of rhythmic exploration that feels both meditative and energetic—a euphoric, detailed album that demands and rewards repeated listens.

Robin Adams’ “The Beggar,” is a superb album. Contrasting in mood with his previous work, the nine songs feature strong songwriting alongside intelligent and often adventurous musicianship. While his fingerpicked acoustic guitar is at the core of each song, subtle strings, bowed cello, and percussion frequently enhance the sound, creating a gorgeous, elegiac atmosphere. It’s lean, creative, and packs exceptional depth, deserving many accolades.

Sir Richard Bishop’s ‘Hillbilly Ragas’ sees the veteran guitarist in devilish, free-flowing form. This terrific set of solo acoustic instrumentals subverts the rigid “American primitive” genre with a ramshackle, rhythmic, and improvised approach, adding Indian and Arabic flavours. It’s a “total banger”—vital, super-focused, and creatively brilliant acoustic music at its most exciting and intelligent.

On ‘Minnesota’, Trond Kallevåg is joined by a crack Norwegian trio: violinist Tuva Halse, drummer Gard Nilssen and double bassist Mats Eilertson. The album expertly balances jazz, folk, and ambient sounds, drawing inspiration from the Norwegian coast and the American Midwest. It’s a deft, creative, and playful recording, marked by mesmerising violin, intuitive interplay, and wonderfully dynamic soundscapes performed at the highest level. It’s also a joy to listen to.

Instrumental super-folk-trio Leveret—Andy Cutting, Rob Harbron, and Sam Sweeney—create an exceptional “warm glow” on Lost Measures. Unearthed dormant melodies are combined with new originals, resulting in eleven pieces of beautiful music. The ease with which the players converse is remarkable, demonstrating restraint, power, and impeccable performance. This is exhilarating, spellbinding stuff; instrumental music performed at the highest level.

Folklore forager Jake Xerxes Fussell and producer and musician James Elkington provide the score for Rebuilding, a poignant film of recovery and resilience. Their seventeen miniatures, built on guitar and fleshed out with pedal steel and subtle strings, evoke classics like Ry Cooder’s Paris, Texas, yet swap its iconic dust for palpable warmth and optimism. The music is almost minimalist but captures the magic of cinematic landscape and human emotion.

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.