Albums

Exeter duo Sounds of the Sirens return to seal their reputation with an ambitious, musically diverse third album of which Mike Davies declares “We may still be in January, but this is unquestionably an album of the year.”

As two fiddle players work their way through a traditional air in the downstairs bar of Cecil Sharp House, former Bellowhead frontman Jon Boden (solo) prepares to take the stage in the main hall for an epic set of post-apocalyptic prog-folk.

With Playing for Luck, Ranagri have reached a sweet patch, four musicians showing a cohesion and confidence that seems to have imbued them with a sense of adventure.

It is no overstatement to say that Contradicshun is a masterpiece of shared creativity, the fullest flowering of a partnership that has been nurtured for fifteen years. It is Megson’s most complete album and their best to date.

At the National Piping Centre on Saturday, Cormac took to the stage surrounded by around 8 or 9 concertinas, and it was clear that each one was going to have a fascinating story to tell… all delivered with seemingly boundless energy, infectious passion and astounding skill.

James Patrick Gavin’s ‘Chewing The Fat’ is a beautiful, imaginative album that anyone with a love of contemporary folk music should have in their collection; it was a joy to witness that music brought to the stage in such an accomplished manner.

On Icarus Girl, Siobhan McCrudden offers a fine set of songs and an assuredness to her delivery. Keep an eye on her journey, this singer songwriter has real potential.

Katie Doherty makes a welcome return on her second album ‘And Then’, accompanied by The Navigators: Shona Mooney, Dave Gray and Ian Stephenson. “Hers is an ascent well worth following”.

Across the whole breadth of ‘The Fell’ there is a kind of alchemy at work: The Brothers Gillespie use ostensibly simple musical ingredients to create songs that feel like classics in the making. The Fell shows off British acoustic music in its best possible light.

Those Who Roam is a shining example of the enduring appeal of traditional songs, and of Claire Hastings’s exceptional talent for delivering them. Inge Thomson’s production delivers an inventive finish, and, of course, Claire’s clear and inviting vocal shines throughout.

Nighttime Birds pushes the concept of solo guitar music into a new realm. Even with just that in mind, this album is a triumph, but adding the fact that the music itself is so utterly beautiful, patient and often thrilling, further demonstrates the talent and unique artistic vision of Sarah Louise.

Impressionistic rather than explicit, thoughts and emotions are woven through the musical fabric as much as the lyrics on Kaia Kater’s ‘Grenades’, it marks a huge leap on her musical and personal journey, and sharing it is a privilege.