Back catalogue: All genres

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: Here's a classic from the folds of Celtic folk. Andy Irvine and Paul Brady recorded their self-titled album in 1976, building on their respective legacies through the 60s and groups like Sweeney's Men and Planxty. Considering the looming presence Irvine and Brady have over Irish music, it's quite incredible this album hasn't been repressed since 1981, but here it is in a special edition format. From the instrumental pieces like "Fred Finn's Reel/Sailing Into Walpole's Marsh" to the heart-in-mouth power of "Arthur McBride & The Sergeant", a truer document of late 20th Century Irish folk can't be found.

Review: Red House Painters' founder turned-rightly-celebrated solo troubadour Mark Kozelek presents the latest album in his prolific back catalogue, and it's as consistent as ever. Teaming up with violinist and singer Petra Haden for the pair's first joint recording, the seven tracks presented here are as musically accomplished and lyrically evocative as you would hope. From the hypnotic pianos and largely-spoken word delivery of woozy opener "Parakeet Prison", to the (more than likely) biographical (and hilariously titled) "1983 Era MTV Music Is The Soundtrack to Outcasts Being Bullied by Jocks", and its sultry, jazz-inflections, the songs are as confident and assured as they are delicate enough to break, had those responsible been remotely heavy handed. Needless to say, they weren't, with every note and word carefully considered, played and sung with love and thought.

Review: Misha Panfilov has been brewing a singular blend of psychedelic jazz, electronic lounge, and ambient exotica for the better part of a decade now, the results growing only more potent and intoxicating with each council. On his latest solo venture, The Sea Will Outlive Us All, he greets us at an 'Albatross-on-repeat level' of bliss and ascends toward a mystical summit of sound.

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: Shane Parish's Repertoire features his virtuosity and versatility as a guitarist across fourteen cover songs arranged for acoustic guitar. Parish's interpretations breathe new life into familiar tunes, demonstrating his skillful approach to the instrument. Highlights include 'Serenade to a Cuckoo,' where Parish's arpeggio intro and main body elevate Rahsaan Roland Kirk's flute tune, and 'Lonely Woman,' reminiscent of John Fahey's mature style. The album also features captivating renditions of John Cage's 'Totem Ancestor' and Charles Mingus's 'Reincarnation of a Lovebird,' where Parish infuses flamenco elements and dynamic shifts. Particularly noteworthy is Parish's solo take on Alice Coltrane's 'Journey in Satchidananda,' where he encapsulates the magic of the original piece in a fraction of its runtime. Overall, Repertoire is a finely crafted collection of beautifully performed songs that highlights Parish's prowess as a guitarist and arranger.

Review: Tess Parks brings a shoegaze come progressive rock ripening with Pomegranate, a rightfully raw solar flare of nine songs set to themes of heartbreak, joy, longing and nouveau-delica. The musician and singer-songwriter first rose to prominence as a Brian Jonestown Massacre collaborator and subsequent 'And Those Who Were Seen Dancing' releaser, though the Pomegranate LP pinpoints a stylistic shift away from that EP's opening opines of warm electro- and dream pop, in favour of an increased sonic fizz and climactic mood, intended to express the artist's lack of a feel for the passage of time. In Parks' own words, Pomegranate's explosiveness of sound echoes the bigness of now, otherwise referred to by the artist as the "all-time now", that momentous, flattened, ultimate feeling one often feels at the back of one's limbic mind - an emotion unique to 2024 - and yet which cannot be accessed without us daring to acknowledge it.

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: Penguin Cafe Orchestra's debut release offers a unique blend of minimalist classical, folk, and avant-garde influences, with a distinct, whimsical charm. Opening with the iconic 'Penguin Cafe Single,' the track immediately sets the tone with its playful melody and intricate arrangements. 'The Sound of Someone You Love Who's Going Away and It Doesn't Matter' follows with a more reflective mood, its wistful theme evoking a deep sense of longing. The album's blend of simple, yet profound compositions showcases Simon Jeffes' ability to evoke powerful emotions with minimal means. This blue vinyl reissue brings a fresh vibrancy to a seminal album that continues to captivate listeners with its otherworldly sound.

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: Sometimes a sketch says more than a mural, is what singer-songwriter and multi-instrumentalist Grant-Lee Phillips said back in 1999 about his then forthcoming debut solo record. Recorded over the course of three days in the basement studio of Jon Brion (the GRAMMY-winning producer of Fiona Apple, Aimee Mann and many more), Ladies' Love Oracle was released following the dissolution of Grant Lee Buffalo, the widely celebrated trio that first brought Phillips to national prominence. The album was met with critical acclaim upon release, with said critics symbolically inaugurating Phillips' into the gilded ranks of Bob Mould, Mark Eitzel, and Kristin Hersh. For the 25th anniversary of Ladies' Love Oracle, the album is being issued on vinyl for the first time, having been remastered for vinyl by Mike Westbrook and is pressed on translucent orange color vinyl and limited to 500 copies worldwide.

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: Funk. Soul. Psychedelic. And good old rough and ready rock 'n' roll. There are plenty of ways to interpret and categorise Jeannie Piersol's music. None come close to hitting the nail on the head of this enigma: a woman shrouded in the thick haze of weed smoke and LSD vapour. A key artist in the 1960s San Francisco counterculture, very little is known about her, but she rose to prominence with Grateful Dead, Jefferson Airplane, and Big Brother, before exiting via the backdoor as the hippy dream died at the heel of conservatives and capitalists. The Nest brings together all Piersol's 1968 singles for the Chess label, alongside bits by Yellow Brick Road and Hair, studio outtakes, demos, and live recordings from some of her legendary shows of the time. Complete with 16-page booklet and 7,500 word essay by Grammy-nominated producer Alec Palao, this is more time capsule than album really.

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: The Pogues' Red Roses For Me remains a seminal debut, being a shinning light during the post-Thatcher London with its energetic fusion of traditional melodies and punk fervor. Celebrating its 40th anniversary with new recycled red vinyl, gives this package an excellent look. The Pogues are not just musicians but are a bold statement against mainstream trends of the time. Their spirited interpretations weave themes of love, loss, and revelry into an infectious blend that resonates with listeners. Described as a charmingly flawed and wholly compelling compilation, the album reflects the exuberant spirit of their live performances. Its compelling mix of heartfelt ballads and boisterous jigs captures the chaotic beauty of the band's identity, showing the brilliance of Shane MacGowan's songwriting. After four decades, Red Roses For Me continues to illuminate the path for a generation, proving that its allure and rebellious spirit endure.

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: Born from the swamps of the Lawson Delta Bayou, the Port Sulphur Band blurs the line between fiction and reality. Both a meta element of the video game Hunt: Showdown and an in-house project by Crytek developers, Port Sulphur Band began as a way to tell stories from Hunt's supernatural 1895 Louisiana setting. Since their 2019 debut, they have gained cult status with over 34 million streams across three albums. Shadows Calling compiles 27 songs including one new track, 'Tie Me to the Mast', and is an evocative and immersive soundtrack on red and black marbled vinyl.

Review: Posuposu Otani is a mysterious throat singer and songwriter from Japan who dropped his debut physical album in March. By merging open-tuned guitar, Kohkin (aka the Jew's harp) and traditional throat singing, Otani creates a sound filled with rich harmonics and fluid rhythms that all evoke the mood of Impressionist art and explore themes of freedom, nature and self-discovery. Influenced by his punk roots, worldly travels and immersion in mountain life, Otani's storytelling music reflects his deep connection to the natural world and makes for a far-journeying listen.

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.

Review: Los Angeles - city of angels, city of lights, camera and, perhaps less discussed outside the USA, city of the American record industry. But while the poster billboards sell us one thing about this vast and somewhat confusing urban sprawl, the reality on the ground is often far different. Or at last much less waxed and pruned, glossy and superficial. Jessica Pratt is a great example. LA has so much great music happening it's hard to keep up, and a lot of the most interesting things are closer to those grass roots in need of constant irrigation due to the southern California sun. In this instance, Pratt's fourth album uses myriad influences, from Bossa Nova to 1960s pop, but it's the quintessentially Los Angeline psychedelia that really carries things - a byproduct of Hollywood's inherent surrealism.

Review: Jessica Pratt's Here in the Pitch marks her fourth album in over a decade, showcasing a subtle evolution from her earlier folk-focused sound. Retaining her trademark gentle melodies and intimate vocals, Pratt ventures into new sonic territories with hints of 60s pop, bossa nova beats and underwater piano textures. Tracks like 'Life Is' and 'Better Hate' incorporate new elements while staying true to Pratt's established style, creating an album that feels both familiar and exploratory. Pratt's voice, versatile and emotive, remains the centerpiece, delivering poignant lyrics against a backdrop of atmospheric instrumentation. Here In The Pitch is a showcase for Pratt's considerable artistry, offering a stunning, introspective listen.

Review: If you're looking for someone to chronicle the seamier side of British musical history, or a curatorial force with insights into its more dusty and unchartered areas, no-one is better qualified than Saint Etienne boffins Bob Stanley and Pete Wiggs, and they've excelled themselves here, delivering a beautifully chosen and endlessly evocative selection of songs from an era often overlooked by the reductive forces of retro culture - a disenfranchised but rich zone in the early seventies after psychedelia, when although the '60s dream had faded slightly the atmosphere of melancholy and hope alike made for unclassifiable and evergreen music. Not quite prog, not quite psych, the likes of T2, Aardvark, Matching Mole and Van Der Graaf Generator were harbingers of a lost spirit that makes for endlessly rewarding listening here, sitting proudly alongside better known figures like Daevid Allen and John Cale on a strange time capsule to be cherished.