Tobias Furlong
Josaleigh Pollett’s fourth full-length album, “If I Let It Quiet”, is an absolute treasure trove of textural, dynamic and living electronic pop music, born out of a cross-continent collaboration with producer Jordan Watko. A whirlwind affair of vast sonic experiences, some out in full view, some hidden beneath the surface — a glowing, sparking dreamworld that beckons repeated listening.
Inviting a sense of ultimate calm, Luluc’s “Sweet Thief” is a gorgeous, contemplative exercise in quiet isolation and self-reflection. Randell’s vocals mirror those of the calmest stream, barely creating a splash, with J Mascis adding percussion. Ten songs that embody a lighthouse in a storm, a point of connection anybody can relate to.
Camille Camille’s “Enchanted Sea” begins with open wounds and ends with six minutes of humming — and the journey between those two points is one of the most quietly assured folk albums you’ll hear this year. Belgian singer-songwriter Camille Willemart has the remarkable ability to always remain in arm’s reach, never beyond you, aiding an intimate and personal listening experience.
On his eighth album, his first since 2023’s ‘More Photographs,’ Kevin Morby returns from somewhere far. “Little Wide Open” is a road record across 13 tracks: tangled highways, small towns, roadside crosses, and rock-and-roll romance. From the engine-rumble of opener ‘Badlands’ to the open-armed homecoming of closer ‘Field Guide For The Butterflies,’ Morby writes with weary-eyed honesty.
Fly The Ocean In A Silver Plane, Mark Nelson’s latest solo album as Pan•American, plays out like the sensation of crossing cities in a little aeroplane — each track feels like its own journey to a nameless destination, but looking out the window, there is a sense of safety, comfort, and calm. A mesmerising body of work ruminating deep from within.