Albums

Buck Meek’s The Mirror is the work of a true American outsider, one who understands that creativity is always a collaboration and a lineage. Whether channelling dusty Texan country or something stranger and more introverted, Meek — aided by Big Thief bandmate James Krivchenia’s light-touch production — stretches these songs into unusual shapes without ever losing sight of their warm, beating hearts.

Very few come sprinkled with the kind of magic dust that coats the new album by Georgia Shackleton. A sense of history seeps into every corner of the recording. These songs are timeless and wise, bright and intricate, shot through with polar light and the glint of the sea. “From the Floorboards” is an album with a story behind it, and that story is worth telling.

Shane Parish takes on the music of English electronic duo Autechre, re-imagining ten of the band’s 1990s songs solo on his Taylor acoustic — ultra-minimalist and organic. The intricacy of the numerous patterns becomes clearer with each listen, time signatures and tempos working together to create a tapestry of beautifully accomplished acoustic playing. Super clean, incredibly precise, and simply a pleasure to listen to — Autechre Guitar is a stunner.

On ‘The Call,’ Montreal-based quartet Bellbird turn jazz presumptions upside down, with the rhythm section dictating form while horns take care of tempo and sonic character. Even as they run with carefree abandon, they never lose the listener. Every track features juicy melodies and audio patterns that are pleasing to the ears, launching themselves on a flight that sounds rather timeless.

Hen Ogledd’s third album, DISCOMBOBULATED, is fresh, weird, pranksterish, passionate and downright uncategorisable as we have come to expect. Their blend of freaky electronic folk-rock, politically charged psych-pop and modernist compositional techniques is elusive, bewildering and brilliant—music that seems to invent new colours. Admirably anti-bigotry, anti-corporate, anti-corruption. Their most consistent, relevant and boundary-pushing record yet.

Pedal steel player Barry Walker Jr. teams with drummer Rob Smith and bassist Jason Willmon for Paleo Sol, a luminous Thrill Jockey release built on space and texture. Walker’s steel guides rather than dominates, creating conversational interplay across tracks like the buoyant Leaving Lower Big Basin and the hypnotic twelve-minute Sentient Lithosphere. Confident, inviting, and impeccably produced, this is collaborative instrumental music at its finest.

Matt Kivel’s eighth album, Escape from L.A., is his most autobiographical offering—a nine-year labor of love weaving personal memories with cultural touchstones. Like Dylan’s Blood On The Tracks, it plays with time and perspective. From the gentle shuffle of Santa Monica to the ominous throb of Tidal Wave, Kivel has crafted a widescreen reflection on home, memory, and place.

Notes to Self is Welsh harpist Catrin Finch’s most intimate work yet—a poignant “letter” to her 13-year-old self. Through eleven compositions, Finch explores themes of home, anxiety, and innocence with expert precision. From the eerie depths of Black Holes to the luminous runs of Môr Arianrhod, this album is a masterclass in emotional depth and musical intelligence; one to cherish.

Pefkin (Gayle Brogan) understands the fluidity and adaptability of ambient music better than most. Unfurling ranks among her most beautiful work, showcasing an exceptional understanding of timing, contrast, and texture. Its many drifts and folds are expertly curated, balanced perfectly between atavism and modernity. Though the component pieces are minimal, they are layered so subtly that they create complex musical tapestries.

In Dream Life, Marta Del Grandi crafts a captivating art-pop landscape where reality and imagination blur. Moving beyond the “oil painting” textures of Selva, this album embraces a detailed, contemporary “photobook” style. From the staccato energy of the rhythmic single “Antarctica” to the hazy, shifting title track, Del Grandi delivers a sophisticated, ground-breaking collection that redefines pop music for 2026.

From street-busking in Carlow to collaborating with Boygenius, Ye Vagabonds’ journey culminates in ‘All Tied Together.’ Releasing January 30, their fourth album swaps traditional covers for deeply personal original songwriting. Produced by Phil Weinrobe, it’s a masterful blend of earthy folk and experimental textures—shimmering synths and soaring strings—capturing the grit of their past and the warmth of home.

Lande Hekt’s Lucky Now marks a sophisticated evolution for twee pop. Blending the political optimism of Amelia Fletcher with the introspection of Sarah Records, Hekt expands the genre’s boundaries using 90s alt-rock grit and sparkling production. From the jangly title track to the sharp social commentary of “Circular,” these three-minute gems establish Hekt as a highly individual, accomplished artist.