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With Stray Dogs, Hrishikesh Hirway opens a debut LP shaped by grief, memory, and the passage of time. The track — a gentle folk song co-written and performed with Iron & Wine’s Sam Beam — traces two packs: stray dogs in his mother’s Indian hometown and a group of teenage friends burning through a New Haven summer. Produced by Phil Weinrobe, In the Last Hour of Light arrives April 24th …
Filmed at The Lilliput Press in Dublin, Ye Vagabonds’ live performance of Mayfly finds Brían and Diarmuid Mac Gloinn joined by Alain McFadden on harmonium, synths and mandolin, Kate Ellis on cello, and Caimin Gilmore on double bass. Taken from their acclaimed album All Tied Together, it’s a warm, unhurried rendering of a song about loss, belonging, and the people who slip quietly away.
Tristan Allen has shared the video for Act III: Rite, the latest visual from Osni the Flare, out March 27th via RVNG Intl. The album — a creation myth spanning several acts — was built from toy instruments, ocarinas, and wordless vocals recorded in a Brooklyn apartment overlooking a cemetery. With each new video, Allen’s meticulous, puppet-threaded world of myth and fire comes further into view.
Camille Camille returns with In A Song, a dusty and atmospheric new single out now via Labelman. Built around insistent train-like percussion and ambitious fingerpicking, the track sees Belgian singer-songwriter Camille Willemart leaning into psychedelic folk territory — restless, searching, and quietly assured. The first taste of an upcoming album, it’s an ode to doubt and the pull of new beginnings.
Grief can do strange things to a songwriter. For Alela Diane, the death of Portland folk legend Michael Hurley last year didn’t close a door — it flung one wide open. Who’s Keeping Time?, her seventh album and debut on Loose Music, arrives May 22nd as a communal, attic-recorded reckoning with time, memory, and the enduring pull of song. Listen to lead single ‘California’.
Juni Habel has shared the video for Stand So Still, the latest single from her upcoming third album Evergreen In Your Mind (out April 10th via Basin Rock). Shot by Malin Longva at Verdens Ende, Norway, the visuals match the song’s quiet ambiguity — a folk gem that opens like something ancient before drifting, on Habel’s voice alone, somewhere entirely its own.
Hen Ogledd have shared the video for End of the Rhythm, the final single from their new album DISCOMBOBULATED (out February 20th). Directed by James Hankins and rooted in the gaudy euphoria of early 90s rave visuals, it’s a fitting companion to what KLOF’s Thomas Blake calls “their most consistent, relevant and boundary-pushing record yet.” The band also announce an 8-hour London sound-ritual this June.
Abigail Lapell shares “Hazel,” the first single from forthcoming album Shadow Child — a nine-song cycle written during pregnancy after years of IVF and loss. Featuring Jill Barber, the track is a spare lullaby addressed to a child whose existence remains uncertain, its plucked guitar drifting through childhood imagery — sandcastles, snow angels, a name carried off on the summer air.
Wendy Eisenberg has shared Old Myth Dying, the second single from their forthcoming self-titled album, out April 3rd via Joyful Noise Recordings. Written during a fever in early 2024, the track pairs an urgent vocal performance with polyrhythmic guitar work, and signals a compelling shift toward folk songcraft — drawing on John Prine, Gillian Welch, and Joanna Newsom — after a decade of genre-spanning work.
Visible Cloaks have announced Paradessence, their third album, and shared lead single Disque featuring Motion Graphics. The Portland duo’s follow-up to the acclaimed Reassemblage draws its title from Alex Shakar’s concept of paradoxical essence — the schismatic core that makes something desirable through contradiction. The accompanying video, directed by Grade Eterna and Spencer Doran, transforms a London greenhouse into an uncanny 3D point cloud.
L.Y.R. share the title track from their forthcoming album Dark Sky Reservation, out 3rd April via Real World Records. Named for those regions where light pollution is outlawed, the song turns that environmental concept inward — into doubt, hesitation, and the uneasy beauty of the unknown. Richard Walters’ ethereal vocals and Armitage’s dry spoken word make for a quietly devastating pairing.
Marisa Anderson’s The Anthology of UnAmerican Folk Music, Vol. 1 draws from the late Harry Smith’s vast private collection to present nine guitar arrangements sourced from regions the US has been in conflict with since 1970. First single Taqsim for Guitar offers a meticulous reworking of a 1955 Syrian field recording — Anderson’s fretted instrument reaching, carefully, toward music it was never designed to hold.