Back catalogue:

Review: Chrystabell and David Lynch's album Cellophane Memories emerges from a visionary encounter Lynch had, translating light and voice into a collection of ethereal tracks. This collaboration dives into fairytale forests, mountain peaks, and crepuscular highways, creating an atmospheric journey through landscapes of loneliness and romance. The album is a sonorous exploration of these sublime settings, enveloping listeners in a supernatural experience of colors, weather, and breath. The songs present a fluidity of time, where characters are sketched in the ephemeral moments of daily dramas. Chrystabell's vocals emerge, dissolve, and loop, creating layers of harmony and history, evoking both the presence and absence within each note. Lynch's orchestral arrangements, along with late composer Angelo Badalamenti's contributions, weave together strings, guitar glissandi, and reverb, crafting melodies that suspend time and capture the essence of a first kiss. Cellophane Memories invites listeners to ponder the nature of mystery, without providing definitive answers. The album's music embodies the transient beauty of departures and returns, landscapes and atmospheres and the intricate dance of time and memory. It radiates a distant light from within its darkness, offering a profound listening experience. This vinyl release is a great package to experience the enduring and enigmatic creative partnership between Chrystabell and David Lynch.

Review: Virginia-raised singer Lucy Dacus' profile has been overshadowed by the gargantuan success of Boygenius bandmate Phoebe Bridgers, but this sounds like the album that's going to change all that overnight. The single 'Ankle' is a case in point: the string-laden number is a hypnotic, emotionally charged epic full of temperature-raising double-entendres. Elsewhere, on the tender ballad 'Limerence', Dacus sounds timeless, like we're in the company of a songwriter who's going to be around doing this music making thing for the rest of her life. An extraordinary talent.

Review: The Daily Flash originated in Seattle in 1965, and true to their name burned bright and fast for around three years before disbanding. Fronted by Steve Lalor and with Doug Hastings on guitar, it's also noticeable their drummer was Jon Keliehor, who has since had an accomplished career in ambient and experimental music. As a perfect embodiment of the original psychedelic wave when it was still relatively attached to 60s pop, The Daily Flash have been revisited in scattershot form over the years, but finally their outstanding archive of recordings has been gathered in one coherent compilation which covers their brief but brilliant tenure.

Review: In 1962, Karen convinced Richard Tucker to join her in Colorado where she was drawn by a healthier lifestyle and steady gigs at Boulder's folk club, The Attic. The duo bonded personally and professionally and spent time riding horses in the mountains and performing throughout Denver and Boulder. Stories of their spellbinding showsiand rumours of recordingsicirculated among friends, but no evidence surfaced until November 2018. Shuckin' Sugar is the miraculous result: three reel-to-reel tapes capturing two Attic shows from January 1963 and a CORE benefit in February. Featuring Karen's solo songs and duets, this release unveils a lost chapter that is filled with Karen's transcendent and hard to define artistry.

Review: It's not often we get next generation county, even less when it has such wild crossover appeal - both in terms of mainstream and more niche tastes. When Rolling Stone magazine spotlit Daniel Donato as a Hot Picker in 2023, the rock & roll bible explained how he had dazzled tourists with covers "in Music City's honky-tonks as a teenager," referring to his formative years playing around Nashville, and was now "eager to take fans on a psychedelic journey". Suffice to say, the Cosmic Country thing certainly fits the bill, although this is a case of surrealism playing second fiddle, or guitar, to the kind of soundtrack that feels destined to take this artist to the very top of the popular country list. Which isn't to say anything here is remotely throwaway - we're talking highly complex instrumentation. Nevertheless, it's impossible to imagine anyone walking away unhappy, so take from that what you will.

Review: The 1960 Harlem Street Singer LP by South Carolinian blues and gospel singer Blind Gary Davis comes reissued by Concord Jazz. Met with critical acclaim at the moment of its release, this forty-minute window into Davis' lonesome world is perhaps best known for its prime haunter, 'Death Don't Have No Mercy', a great, morbid song, and Davis' most popular. "He'll come to your house and he won't stay long / he'll look in your bed and somebody'll be gone / death don't have no mercy..." Such moribund topics never did deter the best of Blues artists, and of course, Davis might be said to have had "seen death" or at least known death personally, having been blind since infancy. Further raw and rusty blues numbers like 'Tryin' To Get Home' and 'Great Change' further extend Davis' image as a Harlem veteran crooner, who's seen a lot and knows many people - pitiless scythed spectres included.

Review: Ryan Davis has seen "sunsets through every shade of beer", but remains convinced we were not put here to rest on depressed laurels and wonder where it all went so wrong. Words only count for so much, though, but thankfully he's put money and energy where that mouth is. Frontman in delightfully disheveled rock troupe State Champion, figurehead behind Louisville's Cropped Out festival. Sophomore Lounge label boss. And now solo artist with plenty to say and the talent to warrant our attention. Dancing On the Edge is the kind of Americana the world wants to buy into - so culturally specific in sound and phraseology, yet universally relevant. This is country rock that has forgotten its rules, embracing elements of garage, and slacker skate. What's most remarkable, though, is the songwriting. A masterclass in conveying the hypocrisy of humanity. Constantly looking for redemption from our next sin.

Review: Another album from the prolific English folk singer-songwriter Richard Dawson provides the listener with simple laid-back songs inspired by his love for the films of Japanese director Yasujiro Ozu but using subject matter relating to family members for inspiration. Recent single 'Polytunnel' tells the story of a gardener dealing with illness whilst growing vegetables. Enlightening escapism or something darker and more sinister? Could be either This is a stripped-down collection of songs, drums hidden in the background, an occasional saxophone (see 'Boxing Day Sales') poling through the uplifting melodies, falsetto vocals and lyrics that can be interpreted in any way that the listener chooses. These nine songs '"zoom in quite close-up to try and explore a typical middle class English family home," Dawson said in a statement. "We're listening to the stories of people from three or four generations of perhaps the same family. But really, it's about how we break certain cycles. I think the family is a useful metaphor to examine how things are passed on generationally." Again, a passionate collection of songs telling stories we can't completely understand leaving the listener to interpret their meanings the best they can by themselves - which is, doubtless, at least half the fun.

Review: It's not just in the album title that Newcastle bard Richard Dawson is ahead of his time. His dark sense of humour and sweaty barroom gig sonics break through the noise, identifying, tackling but not seeking to solve the problems currently facing British society. What could be more post-modern than that? The UK right now is a fractured and somewhat broken island struggling to come to terms with its own place in the modern world. It's also filled with people struggling to come to terms with this reality. Focusing on portraits of those lost souls, it's poignant, cutting and lyrically hard-hitting. A bold and mammoth concept for an album, the instrumentation is even bigger, easing up on the blues and folk of his formative years to allow more room for pop to break through. The result is proof that in times of desperation a nation can at least rely on its artists to offer some hope that all is not completely lost.

Review: The Decemberists explore the intricate psyche of a society at war, drawing on historical archetypes to illuminate contemporary issues more effectively than traditional news. They celebrate life as a vibrant spectacle, where encounters range from rogue spies and runaway prostitutes to child monarchs and vengeful mariners, boy ghosts, and cannibals. Established in August 2004 at a former Baptist church in Portland, Oregon, Rachel Blumberg, Jenny Conlee, Chris Funk, Colin Meloy, and Nate Query, with co-producer Chris Walla, crafted their ambitious opus Picaresque (Kill Rock Stars - March 22, 2005), marking a pinnacle in their collective musical journey.

Review: Sky Girl is the work of two noted (but arguably under-appreciated) crate diggers, DJ Sundae and Julien Dechery, and gathers together a veritable treasure trove of obscure material loosely connected by (in the label's own words) "the same longing sentiment". Its' fifteen tracks touch on a variety of hazy, down-tempo styles, and were recorded at various points between 1961 and '91. There's much to admire throughout, from the folksy psychedelic pop of The Rising Storm's "Frozen Laughter", and spoken word eccentricity of Scott Seskind's "I Remember", to the dreamy, eyes-closed ambience of Nini Raviolette & Hugo Weris' "Slow" and string-laden samba-folk of Nora Guthrie's "Home Before Dark".

Review: Critically acclaimed guitarist and songwriter Steve Marion, known as Delicate Steve, drops his new album Delicate Steve Sings and the title raises questions. Does it refer to the distinct "voice" of his guitar, or is there actual singing this time? Marion's guitar sound is instantly recognisable and sets him apart in a crowded indie rock scene. His unique style has led to collaborations with Miley Cyrus, Paul Simon, Amen Dunes, and The Black Keys, and was even sampled by Kanye West. Inspired by Willie Nelson's Stardust during a trip to Greece, Marion's latest album channels iconic voices through his guitar and showcases its smooth, bold, and singular tone.

Review: A multifaceted personality, 24-year-old breakout folk star Maya Delilah shares The Long Way Round on Decca Records, fresh off the back of a Spotify "One To Watch" award. "I get so influenced by different genres, people, places, and experiences that it's always felt hard for me to fit my music into a consistent sound or mood," the singer said in a statement. Forerun by the likes 'Squeeze' and 'Necklace', Delilah's vocals are breathy and her backing instrumentals smooth, tinged with the torrid strokes of Ayers-esque sunshine funk. Recorded between LA and London, the record flags up themes from cyclical relationships to predestination, with Delilah feeling that the record expresses a future nostalgia for someone she's never met before.

Review: Mancunian saxophonist Alabaster DePlume's new long player is an introspective and meditative album exploring dignity, healing and self-discovery. Rooted in poetry and philosophical inquiry, the album brims with his soulful saxophone melodies and their uniquely evocative lyricism. Tracks like 'Oh My Actual Days' and 'Invincibility' convey resilience while 'Thank You My Pain' draws on mindfulness teachings. DePlume's compositions are inspired by personal growth and global injustices which reflect both individual and collective struggles. Add in his intricate instrumentation and these such deeply felt themes and you have a powerful statement.

Review: On this indie-exclusive pressing, English jazz sax man Alabaster DePlume's latest sees him in raw and expressive mood. 'Oh My Actual Days' pairs slow, swelling sax lines with Macie Stewart's strings, a march toward reckoning. 'Thank You My Pain' turns its mantra into rhythm, embracing discomfort rather than escaping it. 'Form a V' pulls from jiu-jitsu, confronting the world head-on. Instrumentals like 'Prayer for My Sovereign Dignity' and 'Kuzushi' embody movementitension, release, transformation. Packaged with an obi-strip and insert, this edition is a fitting addition to DePlume's workiphysical proof of a philosophy: dignity is not given, it's claimed.

Review: Americana trio The Devil Makes Three bring us their first album since the 2018 release, Chains are Broken. And good things come to those who wait as the saying goes. The California natives have traded the more electrified sound of the previous album and returned to their stripped-down roots, whilst still pushing sonic boundaries with a lush atmospheric feel throughout. A big stand out is 'Hard Times', which is a banjo-flecked banger that feels like a nod to Woody Guthrie thanks to its empathy with people who are struggling and it takes aim at neoliberalism: "It's hard, hard, hard times / They'll charge you dollars / While they're paying you in dimes/ When they said it was going to trickle down / You know that they were lying." What a likeable bunch.

Review: After a decade-long hiatus, The Dirty Three return with their latest album, Love Changes Everything, marking their triumphant resurgence into the indie music scene. The album's opening track 'Love Changes Everything I' sets the stage with a furious storm of Warren Ellis' viola, Mick Turner's guitar and Jim White's drums, showcasing the band's raw energy and signature sound. Throughout the album, The Dirty Three navigate through various sonic landscapes, from ambient textures to raucous distortions, all while maintaining their distinct musical identity. The trio's chemistry remains palpable as they effortlessly weave through loops and transcendent moments, demonstrating a renewed sense of creativity and exploration. With over two decades of experience and collaboration with esteemed artists, The Dirty Three's latest offering shows their enduring artistry and unwavering dedication to their craft.

Review: The Dirty Three's long-awaited return with Love Changes Everything sees the Melbourne instrumental band resurfacing with their trademark blend of mercurial energy and contemplative mood. Warren Ellis, Mick Turner, and Jim White effortlessly traverse from fury to ambient, displaying their strong abilities on guitar, drums, and violin/viola. The lead single, 'Love Changes Everything I,' storms in with razor-edged viola and raucous instrumentation, reminiscent of the band's indie roots. Yet, the album also explores moments of wariness and patience, weaving through loops and transcendental passages. While each member has pursued individual projects, their reunion heralds an exhilarating convergence of their distinct musical paths. With a career spanning over three decades, the Dirty Three continue to wow with their raw, emotive soundscapes cementing their status as one of the most innovative and enduring acts in the indie scene.

Review: Leaving Records continues to gift us the most blissful sounds from parts unknown, or more specifically the LA underground, with this album from Fabiano Do Nascimento. The Brazil-born guitarist carries his roots through into his playing, gently folding samba and choro influences and a rich background in Brazilian classical into compositions embellished with the lightest touches of electronics. It's a resolutely soothing listen, as you would expect from Leaving, but it's not a static field of ambience. Rather, there are hidden treasures and intriguing pathways Nascimento leads us down, always finding a sense of resolution even the surroundings shift before our ears.

Review: This new grey vinyl double album is a celebration of the musical influence of the great singer-songwriter Nick Drake on the many musicians who came after him. Over 30 of them in all got involved with The Endless Coloured Ways, a collection of songs of his performed and recorded from a whole mix of different backgrounds, genres, age groups and audiences. Each of them brings their own perspective and a timeless take on the original material with the likes of Fontaines D.C to Guy Garvey as well as many more all making the cut.

Review: "The lyrics are the real thing, tangible, they're not metaphors," Bob Dylan told the New York Times when he was first promoting this, his - drum roll - 39th album. Fittingly to the point, 'Rough & Rowdy Ways', released six decades into his career, deserves a very special place in the heart and minds of everyone who encounters it. Honest and direct, it's easily one of the most personal and open from the legend's oeuvre, and arguably the record most willing to compromise with listeners. Feelings are not hidden, instead they're impossible to miss. Adding to the open-veined impact are the arrangements themselves. Dylan has never shied away from paring back, but here his still-sensational voice is given so much room you almost want to wrap it up in your arms for fear it's too exposed. In short, potentially the closest thing any of us will get to having an actual conversation with this icon.

Review: Ballake Sissoko and Derek Gripper's collaborative album is a magical exploration of musical synergy and virtuosity. Recorded in just three hours, the album captures the spontaneous magic that arises when two masters of their craft come together. Sissoko's mastery of the kora, rooted in the traditions of West Africa, melds seamlessly with Gripper's classical guitar expertise, creating a captivating fusion of sound. Their musical dialogue transcends boundaries, with each artist pushing the other to new heights of creativity and expression. Gripper's reverence for Sissoko's skill as an interpreter of timbre is palpable, while Sissoko acknowledges Gripper's curiosity and openness as essential to their collaboration. This album a trip through ancient and contemporary realms, where the resonances of the Manding empire blend with the textures of the guitar to create something truly unique and special.

Review: Perhaps folk and country's most eminent power couple have a lot of clout, but that doesn't make them any less prone to disaster. After a tornado ploughing through Nashville wound up ravaging their studio in Spring 2020, the pair had to relocate their equipment to their own home, finding newfound, apt folky joy in the domestic. 'All The Good Times' is the sonic result; it's 10 cover versions for all to soak in, including John Prine ('Hello In There'), Bob Dylan ('Abandoned Love') and Norman Blake ('Ginseng Sullivan'). This reissue comes after the original limited handmade first pressings sold out in 2 days.