The Doldrums is the debut solo release from Canadian singer-songwriter Ellen Braun. She is based in Canmore, Alberta and is also a member of indie folk duo Trundled with Joe Shea.
Braun recorded the 10-song collection mostly live at Montreal’s Hotel2Tango with producer Howard Bilerman. The album features a full-band performance with Stef Schneider (percussion), Sage Reynolds (upright bass), Mike O’Brien (guitars), and Sarah Hiltz (vocals and keys) and the “Nashville” choir, comprising Hiltz, Stephanie Gagnon, Laura Newman, Babette Hayward, William Kuklis, and Joseph Shea.
Of the album’s title, Braun explains: “Someone once told me, ‘It’s not too late to change the name of your album’. Well, it is now, and…
Category: folk-rock
Joni Mitchell‘s Hejira is the last in an astonishingly long run of top-notch studio albums dating back to her debut. Some vestiges of her old style remain here; “Song for Sharon” utilizes the static, pithy vocal harmonies from Ladies of the Canyon‘s “Woodstock,” “Refuge of the Roads” features woodwind touches reminiscent of those in “Barangrill” from For the Roses, and “Coyote” is a fast guitar-strummed number that has precedents as far back as Clouds‘ “Chelsea Morning.” But by and large, this release is the most overtly jazz-oriented of her career up to this point — hip and cool, but never smug or icy.
“Blue Motel Room” in particular is a prototypic slow jazz-club combo number, appropriately smooth, smoky, and languorous.
It seems difficult to believe that this is Rianne Downey’s debut album. Having stepped into some formidable shoes as Paul Heaton’s vocal foil at arenas and festivals across the country, Downey is now establishing herself as a singular vocalist in her own right. That talent is showcased across ten tracks which wear their heart on their sleeve and have an unmistakeably Scottish flavour.
It’s a polished album, though the lush strings never get in the way of Downey’s soaring vocals. Standout track ‘The Consequence of Love’ deals with difficult subject matter, without straying into self-pity. It has a clear echo of New Slang by noughties indie favourites The Shins, and like them you can imagine Downey’s music featuring in a pivotal scene of a heartfelt Hollywood flick.
Well, unless you are an aficionado, it would not be surprising if you had never heard of Alice di Micele. Reverse the Flow is her 18th album in a career going back nearly 40 years. Di Micele, who lives in Oregon, appears not to have particularly sought commercial success and her touring schedule has hardly touched these shores, yet her fan base has developed over the years based on her fine songwriting and her exceptional voice, a five-octave instrument that adds emotion and variety to many of her songs. She is typically categorised as folk/americana, predicated on her lyrical themes (anti-establishment, nature, the modern world, LGBTQ etc) but her vocal styling is so diverse that it is often wrapped in jazz or blues instrumentation, always empathetically surrounded…
Sister John have been about for a few years now so it is perhaps no surprise that there is much in the way of maturity to be found in the words and music that make up the fifteen songs of Don’t Worry, It’s Forever.
It would be easy, therefore, to regard this album as being a serious one. One that successfully combines melody and melancholy as part of this band’s musical recipe for emotional catharsis. One that injects elements of both fragility and heartfelt sentiment into a framework that many might regard as an indication that the inside has become the new outside even if Sister John – Amanda McKeown, Jonathan Lilley, Sophie Pragnell, and Heather Phillip – do so whilst sounding like they have just walked out of the mists of the past.
Now ten albums into his solo career — while still keeping his day job as frontman for The Old 97’s — Rhett Miller delivers his most stripped-down and confessional work yet with A lifetime of riding by night.
This darker, more introspective tone can potentially be attributed to Miller’s recent gig teaching a songwriting class at Manhattan’s New School, asking his students to be vulnerable in their own writing. Regardless, there is a bare-it-all vulnerability that ties all these songs together. With his vocals, a strong, slightly nasally tenor, and acoustic guitar at the forefront of the near dozen songs here (plus a short prologue and interlude), the record is a pivot away from his last solo outing – 2022’s The Misfit, which leaned…
Nathaniel Rateliff & The Night Sweats release their tenth anniversary of their breakout self-titled debut album through a very special vinyl reissue. The 10th anniversary edition offers fans an additional album’s worth of demo recordings. The album also offers fans a similarly special glimpse into the band’s creative origins.
“I had always loved the southern sounds of Soul from the Stax record catalog, and at the same time was listening to The Band and falling in love with their twangy approach to Rock’n’Roll. I wondered what it would sound like if Sam and Dave were in The Band.” – Nathaniel Rateliff
This monumental self-titled album in Rateliff’s career was the catalyst for a journey that has only gained momentum over the last decade.
Best known for the intricate guitar-work which guided the warm, woody folk-rock of her 2022 Grammy-winning album Revealer, Madison Cunningham opens her latest project Ace instead with swathes of rippling piano.
The instrument is the main protagonist across the record, pairing sweetly with the Californian musician’s crystal-clear vocals on tracks like lead single ‘My Full Name’, which recalls the intimate art-pop of Regina Spektor.
Elsewhere the album is more fluid and impressionistic, piano swirling restlessly amongst moody clarinet and strings. Songs shift like the weather, disintegrating into choppy rhythms and murky chords before cohering into choruses again, echoing Cunningham’s lyrical…
Should music academics ever require evidence as to how a singer-songwriter/musician matures and develops over a short period of time, then there could be no better artist to use as a case study than Katie Spencer. Leaving aside an impressive and increasingly formidable catalogue of live work, in respect of her recorded output alone, the journey, from the release of a highly praised debut album, Weather Beaten in 2019, followed by 2022’s The Edge of the Land, which reached Number 14 in the Official Folk Charts, to What Love Is, her third and latest stunning release, provides more than ample material to satisfy any of those abovementioned scholars.
Katie’s musical history has been well-documented, raised by music- loving parents in…
Luv in the New World is the title of Canadian artist Joe Nolan’s new album, produced by Grammy Award winner Tyler Chester. Mostly recorded on tape live off the floor, there is an immediate rawness and warmth to the sound that adds extra weight to Nolan’s compositions, further enriched by an excellent group of accompanying musicians. The lineup might change from one song to another, but Nolan’s perfectly controlled voice remains as one of the album’s key elements.
The record kicks off with ‘Wake Up Sleepy Anna’, a smooth yet poignant track that was released as the album’s lead single. The lyrics tell the story of Anna, a fictional character who serves as a symbol for hope in uncertain times. It’s a wake-up call in which an optimistic attitude is…
This album is the full award-winning Edinburgh Fringe live show recorded at the Jazz Bar. Running to almost an hour, it includes all the chat and banter and all the jokes. The other CD and the LP focus on the music with a couple of bootlegs involved, but this is the core live show.
58 Fordwych Road (Flat 5) was the home of Roy and Mocy Harper in swingin’ 60s London. It was an open house for many a waif and stray and a hang out for budding musicians of the day. They would come round and play games and swap songs and spliffs. What they learnt from each other – at the start of their own voyages of discovery – led to so many treasures. When I think about this I realise that for such a humble little two room home, it had an outsize impact on the music scene in London…
Birthed via a Black Country communion which saw Robert Plant and his new, largely unknown bandmates enjoy a lengthy courtship off-radar, Saving Grace feels guileless, almost serendipitous.
What might happen, Plant mused, if he shipped what he’d learned from T Bone Burnett, Alison Krauss et al home and duetted on choice blues, alt-country and folk covers with Brum-born former music teacher, Suzi Dian? Across 10 intimate songs deftly ornamented by guitarists Matt Worley and Tony Kelsey and cellist Barney Morse-Brown, magic happens.
As much avuncular vibe-master as Golden God, Plant cedes some lead vocal terrain to Dian (‘Too Far from You’) and Worley (Blind Willie Johnson’s ‘Soul of a Man’) while bringing…
Returning to the dawn of his career in Manhattan’s crucible of folk, poetry and politics, MOJO explores Dylan’s transformation from wannabe to real deal with the friends and peers who watched it happen.
MOJO CD, The Complete Unknowns , documents a tight-knit scene of uncommon talents – Judy Collins, Phil Ochs, Dave Van Ronk, Mimi & Richard Fariña, Fred Neil, Ramblin’ Jack Elliott, Woody Guthrie, Buffy Sainte-Marie, Mimi & Richard Farina, Sonny Terry & Brownie McGhee, Eric Andersen, Carolyn Hester, Odetta and more, as well as Dylan himself – inspiring each other to find new paths into and out of American musical tradition.
It takes a Village to raise a child, goes the old saying; here’s the one that nurtured Bob Dylan so well.
Trapper Schoepp’s seventh LP Osborne borrows its name from a unit at the Betty Ford clinic – a place where the Wisconsin musician ended up after a decade of dependence on prescription pain meds. Just one month after being released from the legendary treatment facility, a clean and revived Schoepp was in the basement of a California church recording this record.
To call it personal almost feels like an under- statement. Though the music is often upbeat, the lyrics reveal a much darker narrative. He confronts his addiction head-on with the opening track, “Loaded.” This mid-tempo indie-pop song, with its infectious chorus, traces the roots of his struggle: a pain management doctor who not only prescribed the pills but even provided advance…
While The Third Mind may be a supergroup-the band consists of Grammy-winning singer/songwriter/guitarist Dave Alvin (The Blasters), bassist Victor Krummenacher (Camper Van Beethoven, Cracker), drummer Michael Jerome (Richard Thompson, John Cale), guitarist David Immergluck (Counting Crows, John Hiatt), and singer/songwriter Jesse Sykes-the quintet’s mesmerizing new album, Right Now!, is as ego-less a record as you’ll find. Captured over four days in LA, the collection is a masterclass in being present, in letting go of control and embracing the thrill of collaboration. The recordings represent a singular moment-completely unscripted, completely unrehearsed-and the performances are as unpredictable as they are engrossing…
The young Neal Casal pictured on the front cover of No One Above You (The Early Years 1991-1998) and throughout its companion piece book is not the hirsute countenance of his days with The Chris Robinson Brotherhood or Circles Around the Sun. But there is nevertheless an air of familiarity in the music of the album and the photographic images in its companion piece, evoking the late lamented Casal’s work throughout his career.
The baker’s dozen tracks of this anthology consist of covers juxtaposed with original material that, taken together, bespeak honest acknowledgement of roots, purposely executed as the means to transcend them. For instance, the threads of continuity within Casal’s subsequent work for Ryan Adams’ Cardinals and…
Pittsburgh-based songwriter André Costello released his first album in 2011, and in the intervening years, has clocked up a significant catalogue of music.
Falling into the bracket of indie folk and rock, he has an understated vocal style, half-whispered and half-sung. It provides a gentle, sinuous way of encouraging his music into the subconscious.
Rocky Mountain Low (subtle nod to John Denver, there) is Costello’s latest release, and it feels like he has worked hard on a record that encapsulates the best of his vision. The audiophiles among you will be pleased to note it was recorded to tape, and certainly the sound is rich, warm and natural, and also pleasingly uncluttered. Crafted over six years with producer Anthony LaMarca,…

