Albums

On Matchstick Men, a mingling of Celtic rock and quiet introspection shades much of the album, the songs steeped in reflection and a sense of unease with the present and who or what we are. Despite the self-doubts implicit in the title and many of the lyrics, there’s nothing rudimentary about this.

KELD is an album of eerie, understated beauty that combines folk traditions with experimental soundscapes. Both timeless and modern, it connects old and new and adds another fascinating chapter to the ever-evolving saga of British folk music.

Castle has long had a fascination with the notion of death and transformation, here, inspired by Joan Didion’s book about grieving – On Grim Reaper, she talks of how her songs hold “the colours of my life.”  They are iridescent.

Part of the Light finds Ray LaMontagne back on the more familiar territory of hooks and choruses, folkier offerings and psychedelic hues that let the sunshine in.

There’s no faulting this impressive and career-making debut from Kashena Sampson which finally gets a UK release in time for a string of UK dates.

Anna and Elizabeth are curators of a rich and varied musical tradition, of which change and growth is also an important part. This willingness to experiment has helped produce a piece of work that, if there is any justice in the world, will be recognised as one of the groundbreaking American folk albums of this century.   

Annie Lou has become one of the true treasures of contemporary Canadian folk music, and the architect of a sequence of albums I cannot recommend highly enough.

Ray Cooper’s song writing shines brightly on his latest offering. Between the Golden Age and the Promised Land is an album full of treats for the senses and with plenty to exercise the mind.

There are layers of nostalgia in Hospital Hill, the new album from Jack Carty and Gus Gardiner. The nostalgia may belong to them in many ways but there is an evocation of times gone by that will strike a chord at some point or other with any listener.

With each successive release, Dàimh seem to exceed their aspirations, creating and recording peerless new music. The Rough Bounds is an exceptional album, from an exceptional band.

On the evidence of this recording, The Jellyman’s Daughter, have plotted a careful course and are set fair for the greater horizons that undoubtedly lie ahead. 

One of the greatest strengths of this album is the sheer breadth and diversity of the music on offer, such is the eclectic nature of Fran’s song-writing. For those looking for originality and an alternative to the bland offerings of ‘mainstream’ singer-songwriters, then Wood For The Trees blows in like a breath of fresh air on a balmy spring day.