Albums

There’s a quiet, easy charm about Alden Patterson & Dashwood’s distinctive little musical niche, yet its very simplicity of execution is deceptive, for it can conceal an inventiveness and sense of challenge that I find every bit as beguiling.

A magnificent celebration of the achievements of Fellside Recordings, a marvellous collection of life-affirming music that (together with its predecessor-companion issues) richly deserves a place on your “dip into often” shelves.

On Banjophony, there’s a connectivity among the musicians that goes far beyond simply sharing a melody; it’s an exchange of ideas and influences and a platform to explore them. O’Kane and Block have taken a collective approach to create an album of incredibly captivating music.

This collaboration between Laura Marling and Mike Lindsay should be recorded as one of the most important and necessary works of this decade.

Described as a modern-day hippie-spiritual, the latest offering from Israel Nash is expansive and intimate, personal and universal, spawned of despair but fuelled by hope, it flies on a  higher plane. Book a seat.

The Morning Star seems like a giant leap forward into the experimental mind of Bachman. It’s an album with a sharp tongue and among the beauty that shines through is plenty of unrest, unease and anger. It makes for powerful and original music and ends on a finale that will probably blow your mind.

As an instrument sounding a clarion call for self-awareness and awakening in a divisive world, Gilkyson is finely tuned and Secularia a career-defining musical apotheosis.

While the songs are described as brutal in emotional suggestion, it’s Faraone’s disarming confessional tones and the overall, cumulative lo-fi and often shimmering folk beauty that draws you in and keeps you in its arms.

Turas 1980 is to be heartily welcomed, and not just as the only available, live recording of a band at the first peak of their development. It’s a recording of a concert that transports you there, it’s as close as you’ll get to having been there on the night.

The Words in Between was Evan’s first album, released on Ian A Anderson’s Village Thing label, an album that is as good today as it was over forty years ago – still exquisite and unique, so make a space on the shelf alongside Jansch, Renbourn and Graham for Evans.

One of the year’s finest releases, both a brilliant introduction to Reg Meuross’ work for newcomers and a superb collection of reworkings for long-standing admirers.

Like the Fens landscape that helped inspire it, one needs to spend time with this album, soaking up the music’s myriad of subtleties and the understated patterns of rhythm, sound and language – mesmeric and haunting.