Albums

Amelia White’s latest release ‘Old Postcard’ came about while she was helping to move her parents into assisted living and she found herself looking through souvenirs of their lives together.

Carina Round and Justin Rutledge join forces again as Early Winters to combine a melodic marriage of folk-pop and soft rock on their latest offering ‘Vanishing Act’.

The O’s who have just finished supporting Del Amitri on tour demonstrate a lightness of touch and flair for understated melancholy on their latest offering ‘Thunderdog’.

After a 6 year hiatus the London trio The Monks Kitchen re-emerge with ‘Music from the Monks Kitchen’, a record of contrasts, harmony and that special bit of magic.

Emily Smith is on sparkling form with Echoes, her best album yet. Emily’s multi-instrumental partner Jamie McClennan produces and guest include Jerry Douglas and Aoife Donovan.

We have an exclusive video première for you today, a beautiful and intimate acoustic version of ‘Fortune’ by William Fitzsimmons from his new album ‘Lions’.

For their latest release Switzerland’s The Pussywarmers are joined by Hungarian singer Réka Csiszer, an album influenced by the likes of Strawberry Alarm Clock and The Sonics.

Saville is a keen gardener, and much of ‘Public Flowers’ is the auditory equivalent of time-lapse footage of an emergent flower: simple, concentrated, dew-speckled and mesmerizingly beautiful.

The Brightest Path is Patsy Reid’s first album released under her own name since 2008. With a core band featuring the likes of Fraser Fifield this has definitely been worth the wait.

A shimmering sound of aching beauty, Lions finds William Fitzsimmons returning to core values with a set of songs that draw you into a close sonic embrace. Feel the surge of gentle power.

Of the Storm is the latest offering from Irish folk act The Driftwood Manor which is released via Stone Tape Recordings whose ever growing roster of great artists continues to tickle my taste buds.

Gin is a joyous and celebratory record which crackles and sparkles with a joie de vivre which is sadly lacking from all too many of Stanley Brinks and The Wave Pictures’ contemporaries.