Back catalogue: All genres

Review: Fairport Convention eventually went on to become folk legends after a very quick rise through the ranks over the course of four full-lengths in just a couple of years. Revered names from British and world music played their part as the school friends set out on their mission to become 'the British Jefferson Airplane'. Unhalfbricking from 1969 is the sound of a band growing in confidence, despite the fact that Ian Matthews left the group during the writing of it. There are three Bob Dylan covers including the Top 30 UK hit single, 'Si Ti Dois Partir,' with plenty of other traditional folk songs and an 11-minute ballad.

Review: Good things from those who wait, someone should have definitely said at some point. For Bill Fay, who had both the privilege and the nightmare of being able to choose from some 40 years of material to put this together. Amazingly only his third LP, arriving 50 years after his debut, at 76-years-young he has clearly mastered the art of keeping things simple in order to be truly, staggeringly powerful. It's unforgettable stuff to say the least. Tender vocals, gentile guitar, delicate pianos and little more, aside from some incredibly evocative lyrics. Works such as "I Will Remain Here" and the title track summarise Fay in many ways. Songs about ancient, mysterious places and histories imagined and real, our poet-cum-troubadour acting as both guide and accomplice to the act of marvelling at it all. Records like this literally don't come along everyday, and we should treasure every moment of them.

Review: This album wonderfully celebrates Flatland Cavalry's ten-year journey while setting the stage for their future. It is an essential listen with more than 15 reimagined fan-favourites from their acclaimed releases including 'Come May', 'Humble Folks', 'Homeland Insecurity', 'Welcome to Countryland', 'Songs to Keep You Warm', and 'Wandering Star' alongside four brand-new tracks that showcase the band's signature style. Along the way, these tunes span everything from heartfelt ballads and energetic jams to timeless songwriting and always with masterful musicianship on show. Its mix of nostalgia and fresh energy means Flatland Forever captures the essence of the band's journey so far.

Review: On his fourth album as Fleet Foxes, Shore, Robin Pecknold has decided to celebrate life and death - a theme that no doubt was inspired in part by the ongoing global pandemic. The New York based artist sets his stall out immediately via lusciously orchestrated, choir-sporting opener 'Wading in Waist-High Water' and the similarly gorgeous 'Sunblind' - where he namechecks many of his dead musical heroes - before continuing on a similarly warm, jangling and opaque musical theme. That means soaring chord progressions, emotion-rich vocals, fluid piano lines and plenty of melancholic musical flourishes. It's soft-touch Americana for hard times; confirmed fans and newcomers alike should find plenty to savour.

Review: Flunk's third album, 'Personal Stereo,' released in 2007, has never been available on vinyl before now. It continued their signature blend of Anja's ethereal vocals, Ulf's electronica, and Jo's intricate guitar work while maintaining their trademark uplifting melancholy. The album explores darker themes compared to its predecessors, For Sleepyheads Only (2002) and Morning Star (2004) and revisits their debut's eclectic approach, sampling from decades of popular music as evidenced in tracks like 'Personal Stereo' and 'Change My Ways.' Cult favourite Daniel Johnston features on 'Haldi' adding a unique touch to an album recorded entirely in Oslo apartments. In all, this is a perfect example of Flunk's distinctive "budget pop" style.

Review: Richmond Fontaine's Post to Wire celebrates its 20th anniversary with a deluxe 2LP edition, featuring a bonus live disc on Curacao transparent color vinyl housed in a gatefold sleeve. Recognised by Uncut Magazine as one of the top ten albums of the year, this release is adorned with a hype sticker. Described as a blend between Gram Parsons' slide guitar majesty and Lou Reed's narrated New York, Post to Wire offers a collection of narrated snapshots of life, crafted by frontman Willy Vlautin. Vlautin's songwriting delves into the depths of human desperation and resilience, weaving tales of downtrodden characters with incisive lyricism reminiscent of Raymond Carver. The album's epic centerpiece, 'Broken Hearts,' stands out as a testament to Vlautin's storytelling prowess, binding together characters in a shared journey of struggle and hope. With tunes that evoke familiarity and characters that feel like neighbors, Post to Wire emerges as a great addition to the canon of passionate, literary rock 'n' roll.

Review: Fresh from the release of two tip-top twelves on Handy Records and Wolf Music, Malik Kassim brings his trademark Retromigration sound to the freshly minted LYAM label. Typically warm, woozy, bass-heavy and with plenty of intricate musical details - think Ron Trent, with a dash of the Burrell Brothers and the Detroit deep house swing of Andres - all four cuts are superb examples of the Dutch producer's approach to dancefloor dynamics. Highlights include the laidback, club-ready bump of 'Heat it Up', where undulating acid lines and synth-sax catch the ear; the shuffling, broken house sparkle of 'You Want That' (a genuinely sumptuous late-night delight smothered in spacey synth solos); and the mid-tempo, jazz-funk style title track, where loose-limbed live instrumentation and emotive solos come to the fore.

Review: InFine has always been an enigmatic label. It started life when co-founder Alexandre Cazac attended a Francesco Tristano concert in Paris, during which the legendary pianist covered Derrick May's Detroit techno track 'Strings Of Life', compelling the attendee to team up with Yannick Matray and Agoria to create a platform for electronic-classical noodling. And, even if the latter French electronic tour de force has since left the team, the imprint has continued to push these kinds of boundaries since. Francois & the Atlas Mountains have some big shoes to fill with their debut for the label, then. And they do this with aplomb, albeit the kind of aplomb that's softly spoken, and sounds like you're gazing out across an endless view which is at once unknown and comforting. Electronic folk, chill-disco, whispered downtempo synth pop and patient plugged-in symphonies.

Review: The long-awaited new album of psychedelia-tinged country from US singer-songwriter Edith Frost. It's her first album from the Texas native since 2005 and continues her long-standing partnership with the esteemed Drag City label, who she started her solo career with in 1996, after brief stints in bands The Holler Sisters and The Marfa Lights. Despite her lengthy absence, sonically she sounds on the form of her life: 'Nothing Comes Around' is as cool as anything Cate Le Bon or Aldous Harding have released recently. And 'Hold On' reflects Frost's taste for atypical vocal arrangements, which adds a striking touch to the otherwise more orthodox Americana feel.

Review: Since first joining forces in 2017, Warren Hampshire and Greg Foat have released some of the most magical albums of recent times - sets that cannily combine their mutual love of pastoral music, jazz-funk, library jazz, soundtracks and heady downtempo grooves. The Upturned Glass, the pair's sixth collaborative full-length, is another genuine gem. Highlights come thick and fast, from the skewed, lo-fi jazz-funk warmth of 'Pool In The Rose' and the string-drenched beauty of opener '6,000 Drunks Clinging to a Landslip' (an amusing title for a genuinely moving track), to the chiming, low-slung brilliance of the two-part title track and the emotive, slow-motion ambient-folk beauty of 'Evening Song'.