Back catalogue:

Review: Blundetto unveils a captivating folk single here that features the ethereal voice of French singer Juliette Magnevasoa. 'La Playa' is an acoustic-rich cover of Marie Laforet's 1970 classic and this rendition has a new vocal whose unique timbre adds depth and all-new charm. Together, the artists create a delicate harmony of softness and melancholy and blend soothing tones that evoke timeless beauty. Already heralded as a classic gem, this subtly evolved new version of 'La Playa' offers a serene and heartfelt sound for intimate moments.

Review: If any album comes close to the beauty of Crosby, Stills & Nash in 2025 it's this. It's difficult to imagine anyone else nailing melodic, acoustic guitar-oriented music that treads in gospel, blues and pastoral psychedelia better than this supergroup. Could Bernard Butler be on his way to another Mercury Prize nomination with this? They've got a strong case for it. The band itself is something a little different and formed by popular demand. Norman Blake (Teenage Fanclub) Bernard Butler (Suede) and James Grant (Love and Money) originally got together for one occasion, at Saint Luke's in Glasgow in 2022 for Celtic Connections, but the power of them together was so great they've been talked into putting an album out. They've gone about it in quite a pragmatic way, with each member labelling which songs theirs, as opposed to all trying to write the same song at the same time. Makes sense really.

Review: Reconnecting through their shared musical heritages, Rhiannon Giddens and Justin Robinson present What Did the Blackbird Say To The Crow, a mesmerising collection of fiddle and banjo tunes tied to North Carolina's many oral and digital traditions. After their late mentor Joe Thompson bequeathed them a trove of recordings to work with, the already esteemed, torch-bearing duo breathe new life into 18 handpicked rethinks and honorific originals, some sung, others purely instrumental. Recorded outdoors at sites meaningful to Thompson and Baker, their sessions were joined by the rare, overlapping calls of two cicada broods, unheard together since 1803. Giddens calls it "music made for your community's enjoyment and for dancing."

Review: Sarah Jarosz' seventh full-length LP Polaroid Lovers comes to blue and green splatter vinyl, as the complementary edition to the standard LP and CD versions. Jarosz' album captures essences of the most fleeting moments of life, analogous (literally) to the candidness of most moments caught on instant film. Yet the album also finds nearly endless profundity in those moments, mirroring the eternalizing effect that Polaroid pictures have on our perception of time and memory. Despite being made up of snapshots of different romantic experiences lived over a lifetime so far, all songs on the record distill the best of these moments into song, with the singer and multi-instrumentalist effortlessly gliding over each subject as if leafing through the photo book, year by year, reliving each moment in a purely removed way, without its in-the-moment travails.

Review: The seventh full-length from Sarah Jarosz, Polaroid Lovers is an album-long meditation on those strangely ephemeral moments that indelibly shape our lives. "What I love about a Polaroid is that it's capturing something so fleeting, but at the same time it makes that moment last forever," says the Texas-born singer/songwriter/multi-instrumentalist. Thanks to the rarefied alchemy that infuses all of Jarosz's output - her finely wrought lyricism, ravishing vocal work, virtuosic yet unfettered musicality - Polaroid Lovers performs the much-needed magic of leading us toward a heightened sense of presence, all while casting a lovely spell with her timelessly powerful songs. Produced by Daniel Tashian at the legendary Sound Emporium, Polaroid Lovers took shape as Jarosz recorded live with musicians like guitarist Rob McNelley, Tom Bukovac on guitar and organ, her husband bassist Jeff Picker, and drummer Fred Eltringham, carving out a viscerally potent but resplendent brand of folk-rock.

Review: Trans artist Jasmine.4.t's debut album comes off the back of three remarkable singles released to the world in 2024, all of which are included on this debut released on Phoebe Bridgers' label 'Saddest Factory records'. An album of intimate stories produced by Boy Genius captures the issues Jasmine (Cruickshank) found herself dealing with on her arrival in Manchester following life in her Bristol surroundings became a struggle after her coming out in 2021. The LP is full of soft vocals, soothing guitars and intimate yet celebratory lyrics also features The Trans Chorus of Los Angeles, who add some joyous backing vocals to these sweet sometimes dreamlike, beautiful songs. Last year's single 'Elephant' is a powerful and honest song written during the early stages of the singer's transition that was embraced by many listeners proclaiming it one of the best releases of the year. Now the album has arrived it's expected even more people will come to the same conclusion - expect to see a few more songs from this album making the 'best of' lists once 2025 comes to an end.

Review: Cassandra Jenkins solidifies her place among the elite songwriters with My Light, My Destroyer, an album that marks an exciting evolution in her artistry. Drawing comparisons to luminaries like David Berman and Sufjan Stevens, Jenkins delivers precise, evocative songwriting infused with humor and brutal honesty. The album expands on Jenkins' signature style, incorporating field recordings and found sound to create complex sonic landscapes. Jenkins' vocals, reminiscent of Sufjan Stevens and Annie Lennox, are up close and intimate yet subtly confrontational, commanding attention with their power-whisper delivery. Exploring themes of disillusionment and focused observation, tracks like 'Devotion,' 'Delphinium Blue,' and 'Only One' offer poignant reflections on the human experience. Jenkins embraces disillusionment as a process of discovery, celebrating the freedom found in letting go of expectations.

Review: This album marks the first time an Eel River show has made it to vinyl. Co-produced by Bill Graham Presents and the Hog Farm, this unique performance offered a refreshing departure from Jerry Garcia's typical urban venues. The show featured Garcia's quintessential band-Gloria Jones, John Kahn, David Kemper, Jacklyn LaBranch and Melvin Seals-and captured the essence of their signature sound. Fans from all over the country gathered in the heart of the Emerald Triangle for this historic performance which became an iconic moment in the Jerry Garcia Band's legacy. A must-have for collectors, then.

Review: Jim Baron is a well-known DJ, songwriter and multi-instrumentalist who co-founded Crazy P and who assumed new alias Jim for solo work back in 2021. His debut album Love Makes Magic is a superb mix of lush harmonic vocals, with funky back beats and a mix of organic brass and electronic synth sounds. It is music based around the work of the guitar but with plenty of sunny but eyed soul and subtle beach vibes that make it a gorgeous listen, especially as the days get longer and the sun that bit warmer.

Review: London Conversation was the debut album from John Martyn which immediately showed what a unique musician he was. It came in 1967 was he was just 19 terras of age and was recorded in glorious mono at Tony Pyke's home studio in Dryburgh Road, Putney, over the course of one afternoon. The album is steeped in the folk tradition with excellent songwriting and lyricism and jazzy instrumentation, sitar and flutes bringing each piece to life. There are beautiful love songs like 'Back To Stay' and standout verses in 'Rolling Home'. His lovely voice and his accomplished guitar skills really stand this one apart, still, all these years later.

Review: Two British pop legends unite for Who Believes in Angels?, a new record spot-checking our faith in divinity. Having connected through a mutual admiration and shared love of music, Elton initially became a fan of Carlile through her effusions of folk, rock and country, which matched the former's megastar's sometimes pained, moving songwriting. Their friendship deepened over the years, with Carlile performing at Elton's annual AIDS Foundation events and joining him on stage for special collaborations. Now blending Elton-led and Brandi-led tracks, the album contains lyrics from longtime collaborator Bernie Taupin alongside Carlile's own contributions, with production by Andrew Watt. This marks Elton's 33rd studio album and Brandi's eighth.

Review: A great example of how critics are often not all right, when Jack Johnson dropped his third studio album, In Between Dreams, music writers the world over adopted partisan positions. Some believed this definitely was worthy of catapulting him from Pretty Famous Acoustic Surf Rock Guy Popular With People Who Went Travelling Post-Millennium, to global superstar. Other were pretty non-plussed.

Suffice to say, we all know who won in the end - Jack Johnson. In Between Dreams rocketed to high chart positions, reaching number one in Australia and the UK, and number two in America, returning to reclaim that US position upon reissue in 2013. One of the most familiar records of the last couple of decades, even if you've never actually owned a copy (partly the result of all the advertising licensing that has taken place), perhaps now is the time to rectify that ownership issue.

Review: Jamey Johnson's latest release marks a triumphant return after a 14-year absence, showcasing his skillful songwriting and emotional depth. Known for his country bluesy sound and thoughtful perspectives, Johnson delivers a collection of tracks that explore love, life and struggle with honesty and grit. The album features a blend of slow, mid-tempo tracks with moments of intensity, like the emotional 'Sober', which touches on his struggles with sobriety and '21 Guns', a heartfelt tribute to the troops. The upbeat 'Trudy', a cover of the Charlie Daniels classic, adds a fun, horn-driven moment to the album. Tracks like 'What a View' and 'Someday When I'm Old' demonstrate Johnson's knack for using perspective to tell compelling stories, while 'Saturday Night in New Orleans' and 'I'm Tired of It All' reflect his sharp observations of life's contradictions. Though the album's slower pace can feel repetitive at times, the strong performances and masterful songwriting make each song impactful. With guest appearances from Randy Houser and Chris Stapleton, Johnson proves he remains a force in country music, blending traditional sounds with modern sensibilities for a rewarding listening experience.

Review: Simon Joyner's first album of new material in two years. Following the devastating loss of his son, Owen, to an overdose in 2022, this deeply personal work explores the kaleidoscope of grief through raw confessions and imagined dialogues, offering an intimate window into Joyner's attempt to process the unthinkable. The album opens with field recordingsibirdsong that invites us into the elegies to comeiand closes with the hum of cicadas, a return to the world that continues, despite everything. Between these, Joyner confronts the complex emotions of regret, fear, shame and love. On tracks like 'My Lament' and 'I'm Taking You With Me', he offers gut-wrenching confessions, while the title track is a heartbroken ode infused with a fragile forgiveness. Joined by close friends and collaborators, including David Nance and James Schroeder, Joyner's sensitive arrangements elevate the raw honesty of his lyrics. Not just a powerful testament to loss but a reminder of the transformative power of art, creating beauty from sorrow.

Review: Acclaimed South African folk singer Vusi Mahlasela joined forces with singer songwriter Norman Zulu as well as the superb Swedish jazz and soul collective Jive Connection for this album back in 2002. It was thought to be a lost recording until it recently showed up and now gets fully revived by Strut. There are strong political links between these countries which no doubt adds weight to this musical link up. It is a great exchange of cultures from parables to laments on child abuse to tunes that fuse reggae, jazz and post-punk with township styles.

Review: What you see before you ranks among the most mythologised live albums (n)ever released. Like the title suggests, it was originally recorded in 1972 at Parisian rock institution Le Bataclan, a legendary venue which would later gain notoriety after a group of armed gunmen opened fire on a crowd in 2015, killing 90 people. But that grisly recent history belies its status as one of the most respected concert halls in the French capital, and this not-quite-Velvet Underground show has contributed to that legacy. Showcasing the stop-you-dead qualities of Nico's staggering (and unique) vocal timbre, the surreal, immersive qualities of the Cale and Reed's legendary art-rock tones, this time capsule had been bootlegged and bootlegged until 2004, when it finally got an official release. Now it's back.

Review: When members of mega-bands work with relatively obscurer artists, we're always intrigued. But a potential trapping factor is in thinking Jarak Qaribak, for example, is more of a Jonny Greenwood album than a Dudu Tassa one, when in fact the exact opposite is the case. Tassa, an Israeli singer-guitarist who fuses Middle Eastern stylings with contemporary rock, lends a challenging structural terrain to the Radiohead member's electric guitar licks, with the former's Arabic and Hebrew lyrics moving atmospherically against them. A star cast of fellow Israeli artists accompany the pair, as serene vocal beat-driven movements plod and swell away in an appealingly nu-proggy fashion.