Back catalogue:

Review: Michael Grigoni and Pan•American's latest collaboration is a series of contemplative reflections on the isolation, fractures and uncertainties that define today's world. The album delves into the emotional landscape shaped by political divisions, personal solitude, and the lingering aftereffects of the pandemic. Through its fusion of folk, country, bluegrass, and blues elements, paired with a modern, ambient atmosphere, the sound is both rooted in tradition and forward-looking. Tracks like 'Sun Morning Sun' and 'Silver Streams' carry a sense of quiet introspection, while 'Black River Song' and 'Mirage/Afternoon' showcase the duo's ability to merge organic instrumentation with spacious, textured soundscapes. The album's exploration of personal and collective experience creates a reflective space, asking listeners to pause and engage with the complexities of modern life. A musical journey that speaks to the heart of the American experience, offering an emotional response to an uncertain future.

Review: David Pajo, the enigmatic musician behind Papa M, makes a bold return with a collection that straddles grit and grace, diving into new sonic depths after six years away. Known for his understated brilliance, Pajo shifts from the acoustic delicacy of A Broke Moon Rises to a bolder, rock-infused energy. Across six tracks, he merges structured riffs with improvised solos, crafting a unique sound that recalls bluesy rock influences, with subtle nods to the dexterity of guitar legends like Billy Gibbons. The single 'Ode to Mark White' highlights Pajo's experimental flair, utilizing waltz time to create a hypnotic rhythm that's both fresh and familiar. Recorded solo, the album captures Pajo's knack for live, spontaneous creativity, blending haunting ballads with driving grooves that underscore his versatility. A founding member of the post-rock outfit Slint, Pajo's influence extends through collaborations with Stereolab, Will Oldham and Tortoise, shaping his legacy as a genre-bending innovator. Here, he brings his classic ingenuity into focus, proving yet again that his music defies easy classification, balancing raw power with artful restraint.

Review: Dolly Parton explores the rich musical heritage of her family in a deeply personal release, focusing on the legacy of the Parton and Owens families. Produced by Dolly's cousin, Richie Owens, the collection features a mix of performances from both past and present generations, with contributions from family members who have passed alongside newer voices. This project not only celebrates the musical traditions of Appalachia but also honours the deep familial bonds and cultural roots that have shaped Dolly's life and music. The result is a moving tribute to the sounds and stories passed down through generations.

Review: By late 2023, Hayden Pedigo's music had reached new heights since The Happiest Times I Ever Ignored. 'Live in Amarillo' captures this growth, presenting a set filled with intricate guitar work and emotive depth that speaks directly to the listener. Each track feels lived-in that reveals layers of nuance and technique, gained from months of relentless touring. Recorded in Amarillo's Globe-News Center, the album, expertly mixed and mastered, brings Pedigo's evolving style to lifeia meditative, rich soundscape that draws comparisons to the best in modern instrumental music.

Review: Portuguese multi-instrumentalist, producer and DJ Pedro Ricardo serves up his debut album here and it is a thrilling fusions of sounds. He draws on his many different skills and loves and collides jazz, traditional Portuguese folk and fresh electronica into a journey that is bold, adventurous and draws on themes of love, longing and nostalgia. The percussion throughout is truly vibrant, the vocals are whispered and subtle and the keys soar next to delicate guitars. You won't have heard an album as free in expression as this for a while.

Review: Linda Perhacs' debut is a unique, psychedelic folk masterpiece that remained largely undiscovered upon its initial release in 1970. Its eventual reissue in 1998 allowed the album to gain the recognition it deserved. The music is a haunting mix of folk and experimental psychedelia, with Perhacs' intricate, multi-tracked vocals and cosmic arrangements creating a sound both intimate and otherworldly. Songs like 'Chimacum Rain' explore nature and sensuality, while the title track layers geometric lyrics and lush soundscapes to evoke a mystical, transcendent experience. While some moments, like 'Porcelain Baked-Over Cast-Iron Wedding', introduce some experimentalism, the album's strength lies in its more straightforward, emotionally charged tracks such as 'Paper Mountain Man', The work stands as a singular example to Perhacs' visionary talents, capturing the psychedelic experience in a way few artists could. Her ability to blend experimental techniques with folk sensibilities places her alongside the greats of the era, offering a deeply personal, unforgettable journey into sound that remains a timeless gem.

Review: Phosphorescent is recognised as something of a key player in the current indie scene. Based right now in Nashville, Tennessee, he has been away for the best part of half a decade but now makes a sweet return much to the delight of fans and critics alike. Back in 2022 his covers album Full Moon Project showcased all of his most prominent inspirations and influences with versions of music by the likes of Bee Gees, Bob Dylan and Nina Simone. The self-taught producer and a constantly inquisitive creative now goes deep on new record Revelator which is "a meditation on all that he's learned about life and all that is still unknown".

Review: JD Pinkus' Grow A Pea" is a triumphant return for the musician, offering a blend of heavy psychedelia, drum & bass grooves, and bouncy boogie that delights the senses. The album, a labour of love five years in the making, showcases Pinkus' musical evolution while paying homage to his roots. Tracks like 'Heaven As Fuck', 'Rejoice Unto Yourself' and 'Charmer' are standout examples of his ability to craft catchy tunes with a sprinkling of tasteful horns, keys and strings. Pinkus' collaborations with musicians like Paul Leary of Butthole Surfers, Sam Coomes of Quasi, and Mike Savino of Tall Tall Trees add depth and complexity to the album's sound. Grow A Pear is a testament to Pinkus' artistry and a strong album for fans of American indie music.

Review: First released in 1992 on CD only, this comprehensive compilation of The Pogues' mid-career set of highlights is not your usual career retrospective. Rather than emphasising their most obvious tunes, this record specifically concerned the period 1984-1990, in which time the Anglo-Irish folk, rock and pop band delivered their enduring cover of Rolling Stones' 'Honky Tonk Woman', as well as such prime-cut originals as 'Yeah Yeah Yeah Yeah Yeah', 'The Sunny Side Of The Street', 'Dark Streets Of London' and more. Now released on limited edition green vinyl for the first time ever, you vinyl preferrers too may sing and swing with this most raucous of cross-Channel belligerent bands, notably zooming back largely to the period before their drunken Christmas smash 'Fairytale Of New York' came to be.

Review: Pom Poko have matured significantly with their new album Champion, which is a rather profound and uplifting post-punk effort. Vocalist Ragnhild Fangel Jamtveit, bassist Jonas Krovel, guitarist Martin Miguel Almagro Tonne, and drummer Ola Djupvik are more connected than ever here both personally and musically. Unlike many bands that use the term "family" all too loosely, Pom Poko has truly become a tightly-knit unit through extensive touring and what they say is a rigorously democratic songwriting process. Their focus remains on staying true to their artistic values here while also pushing the boundaries of their dynamic and often chaotic sound.

Review: Californian Jessica Pratt may have been born in the late-eighties, but On Your Own Again, her second album to date, is possessed of a strangely timeless quality, apparently beamed in from some alternate dimension where pastoral atmosphere sashays with ethereal quietude to beguiling effect. Somewhat redolent of the sleight-of-hand of Joni Mitchell and the otherworldly subtleties of Karen Dalton, Pratt's small-hours serenades are mostly comprised of merely her guitar and voice - and recorded all-analogue to four track - yet it's testimony to her talents that these simple ingredients weave a delicate spell over the course of these nine songs that is little short of mesmerising.