Albums

Siobhan Miller’s All Is Not Forgotten is a perfect antidote for these unsettled times. She brings out the best in a musical landscape, from traditional to modern. Along the way, we all share the experiences that help us weather the sorrows and the joys life offers.

As well as offering a career snapshot for the faithful, this serves as a handy enticement to newcomers to dig further into Dean Owens’ catalogue and discover what they’ve been missing.

With Oneiric Formulary, Sir Richard Bishop is certainly not trying to do anything predictable – the result is a roller-coaster of a success. What a crazed, beautiful and brilliant riot of a record.

Call the Captain, the new album from Western Centuries, is a genre-melding, unconventional country outfit, the more you listen the more nuances you’ll find in both the music and the words, heed the call.

Natural Invention is a piece of music that feels thrillingly, frighteningly, beautifully of our time. With the Gigspanner Big Band, Peter Knight has assembled a group of musicians intent on making some of the most important and exhilarating art ever to sit under the banner of folk music.

Jacken Elswyth returns with the sixth in her series of Betwixt & Between releases. Her guest for this latest tape release is Berlin-based drummer Ryan Eyers whose creative (and unshowy) drumming, turns out to be a strangely complementary foil for Jacken’s own contributions.

Well-polished but never sterile, it may take a few plays to seep in,  but its smooth mix of mellow warmth sharp observation has a lingering taste.

It’s good to welcome Georgia back, and her third album is an unobtrusive delight where the alternately lush and sparse conjured textures beguile the attentive listener in their careful response to Georgia’s ever-intriguing lyrical vision.

Distinguished by Emma Morton’s cool, controlled vibrato, Brighton-based Sairie return with five-track-EP Scarlet And Blue, a very persuasive blend of voice and instrumental that bodes well for their future.

True Hand True Heart is the follow-up to The Remedy Club’s well-received 2017 debut on which they ably consolidate their rising star trajectory with this Nashville-recorded collection produced by Ray Kennedy.

On the track “Move”, Hiatt sings about getting your shit together, facing up to your issues and dealing with things, something she has clearly accomplished to formidable effect as this confident, assured and hugely accessible album shows.

Five years on from the last album, Clem Snide is resurrected with Eef Barzelay and Scott Avett working in collaboration – “That this record even exists, as far as I’m concerned, is a genuine miracle”, says Barzeley. Listening, you can only agree.