Mike Davies

Magic Ship finds Amelia Meath, Alexandra Sauser-Monnig and Molly Sarlé reuniting as Mountain Man. Beguilingly simple, at times childlike at others worldly-wise, Magic Ship is a bewitching album; you should book your passage forthwith.

Tablelands is the third and final EP in India Electric Co.’s trilogy of songs contrasting the city and the country and our search for greener pastures in its themes of displacement and unification. An outstanding trilogy that serves to emphasise the duo’s status on the folk landscape.

The mark of a successful cover is to take the original and, rather than treat it over reverentially, ruffle up its hair, give it a new wardrobe and make it your own. William Elliott Whitmore has full possession here.

Variously embracing blues, gospel and Americana,  This Too Shall Light, is the second solo album from Amy Helm, daughter of Levon Helm. Produced by Joe Henry, it comprises of a great a mix of originals and covers.

Having released their Tucker Martine-produced fourth album Ruins, at the start of the year, Swedish songbird and songwriter sisters First Aid Kit return with this unexpected and wholly delightful EP Tender Offerings.

While the album may, as a whole, be hung with the shadows of adult life, there’s something here about the blissful innocence of childhood and a future yet unmapped.

‘10,000 Days Like This’ is the full-length debut from the Vermont-based trio Low Lily. Aided by a number of guest musicians including Dirk Powell and Crooked Still’s Corey DiMario, it’s a cocktail of originals, traditional numbers and covers that they can feel justifiably proud of.

There’s a cinematic sweep to the new album from Kris Gruen with a screenplay built around love, family, dreams and hope.  Explore its shores and escape.

While it’s an interesting collection of choices, it’s a stunning piece of work from an artist who may be putting his travelling shows away but, at 76, remains at the peak of his creative and musical powers.

An album of personal and political power, passion and perception, it is hugely persuasive proof that Petrie most deservedly earns her place at the table.

While Baltimore-based folk singer Letitia VanSant may no longer work in social and environmental advocacy, as this terrific album ably proves, the day job hasn’t changed, it’s just altered its channels.

A love found, lived and lost in eight songs, simply but beautifully crafted in its musical and emotional notes, it’s the album equivalent of a Richard Linklater or Woody Allen bittersweet romance.