Albums

While Shade perhaps doesn’t quite possess the textural warmth of Paradise Valley or hypnotic pull of Dragging a Dead Deer, its greater clarity and confidence offers a glimmer of hope that is perhaps unprecedented in Harris’ previous music as Grouper.

Elliott is living proof that a well-timed whisper can often be more consequential than a shout, and on December songs he takes that aesthetic to its quietly impressive limit. It is hard to see how this album could have come out any better.

On one song, Love asks “Are you ready to be wonderful?”. “Will You Be There” clearly suggests O’Connell & Love were most certainly well-prepared.

On Just Rain, Jessica’s Brother have created something much larger than the sum of its various parts in which everything is not exactly what it seems.

Belgian trio Tamala return with their second album Lumba (“the big day” in Mandinka) with a message for change and a call to stand against the unfair distribution of wealth in the world today.

With Yonder Green Grove, The Norfolk Broads have produced a collection of greater stature. The vocal accomplishment of all four singers, whether alone or together, is spellbinding.

Introspective, reflective, and, at times, steeped in memories of darkness and despair, but always reaching to take hold of the light, People in Cars is Curse of Lono’s most personal album to date and, while not as urgent as past outings, the accumulative impact is mesmerising.

As you may have gathered from the title, The Man Who Built Christmas is an early musical tinsel treat from Charlie Dore…anyone would be well-pleased to find this EP in their stocking.

Devin Hoff pays tribute to Anne Briggs through a series of dramatic but somehow faithful rearrangements. Featuring a stellar cast of like-minded Briggs fans, Voices From the Empty Moor looks backwards for inspiration but is entirely contemporary in feel.

On his latest album, Minimum Wages, Robb Johnson adds more chapters to his contemporary history of the UK that emphasise the tragic, the desperate and the inequality. Crisp, clear and excellent.

Let What’s In, Out, is the long-awaited new release from accordionist Amy Thatcher. Over four tracks, with not a word to be heard, she conveys moments of serenity and emotional turbulence through top-class musicianship and imparts some food for thought along the way. She is in a class of her own.

Featuring a number of special guests, “1960” is one of the most personal albums Martyn Joseph as ever made. Quoting a line from one of the lyrics he describes “1960” as a soul taking stock, of looking inwards and finding acceptance. It’s an album of the year.