Category: indie-folk


UK alt-folk group Stornoway release new album Beyonder. The band – from their name alone – have long had a debt to Scottish islands, to the experience of life on the fringes. New album ‘Beyonder’ takes this to an extreme, with the group’s Brian Briggs citing a revelatory experience on St Kilda as the root of their LP. The record contains a photo taken on St Kilda at its artwork. The most Westerly point of the British Isles, St Kilda’s human population abandoned the island in the 1930s, requesting to be evacuated to the mainland. An evocative and moving part of the country, the album helped unlock the album Brian Briggs has been “trying to write my whole life”.
He comments: Lying in bed in a stone blackhouse in St Kilda, being deafened…

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Fans will be happy to know that Lizzy McAlpine’s fourth album, Angel, is filled with sounds reminiscent of her decade-long career; however, this time, there’s a coating of something evolved. Instead of brutal, gut-wrenching heartbreak, this fifteen-track record explores acceptance and closure, and instead of self-reflection that tears you apart, there’s self-discovery that evokes freedom — the musicality may sound similar at times, but this addition to her discography is McAlpine’s most devoted yet.
The folk-heavy album swoons listeners with the opener and first released single, ‘The light in the painting’, a declaration of love in the form of peaceful poetry and soothing melody. The song reminds listeners of a previous opening…

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Recorded last year in Los Angeles, Ghosts of American Psychonauts finds Will Oldham reworking five of his best-loved tracks (including ‘I See A Darkness’) and a handful from 2025’s ‘The Purple Bird’.
Oldham had an impressive ensemble with him for this one. Of course, his regular tourmates Thomas Deakin and Jacob Duncan were present, but it’s the guests that make this one special: London May on drums, Patrick Shiroishi on sax, Emmett Kelly on bass, Ryder McNair on piano and Dv DeVincentis on sax. Even ‘The Purple Bird’ producer Dave Ferguson shows up to sing John Anderson’s part on ‘Downstream’. And although the new tracks are good to hear in a more casual format, a hop, a skip and a jump from Nashville…

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All those reinventions, genre-clashes, breakdancing and Gen X irony can take it out of a person. So it’s little surprise that every twelve years Beck returns to a safe place, a familiar terrain, where he can work through difficult emotions with trusted musicians. There’s no pressure to show off, innovate or get crazy with a processed cheese spread.
Sea Change, Beck’s eighth album, established this more sombre space in 2002. It was folky like 1994’s One Foot in the Grave and ’98’s Mutations, but different too: a dead serious, dead slow, dead melancholy mix of acoustic guitars, strings and a Gallic-funk rhythm section, it found a bruised Beck channelling his heartache over the end of a nine-year relationship. Sea Change confused…

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“I have something to say,” the opening line of Paris Paloma’s raw, visceral, and powerful sophomore album The Fatal Flaw, is a colossal understatement. It’s unfortunate that portraying a world through the female gaze, glaring down on misogyny, superficiality, and capitalism, is considered radical. Paloma knows that the only way to crumble power structures is to face them head-on, and if that’s radical, then she welcomes the label with open arms.
The Fatal Flaw celebrates art, stuffed to the brim with allusions that cement Paloma’s role at the intersection of pop, intellect, and humanity. The songwriting is adeptly concise and eloquent, often reading more like a short story collection than an LP. It’s resoundingly successful in…

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Twilark’s Canon Pence sees the beauty in everything falling apart. In a wavery tenor balanced precariously between country confessionals and indie rock self-examination, he mourns the changes in life, in relationships, in bucolic plots of land swallowed by development. And yet, he also finds solace, even revelation in the cycle. The best song on the disc, “Prettiest Way to Die” tracks the slow, visually striking death of a tree strangled by wisteria. It’s a disaster for the tree, clearly, but also an indelible image of weathered bark wreathed in murderous purple flowers.
This is Pence’s second album as Twilark, following 2025’s The Taming Ties Create, a sparer, more inward-looking collection of songs, which nonetheless foreshadowed…

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Since 2012, Sam Sodomsky has quietly released lyrically elegant, musically sophisticated albums under the moniker The Bird Calls. His Bandcamp page has nearly three dozen releases, including singles, EPs, and full-length albums. If his latest record, Take Leave, is any indication, he’s not slowing down and is making his best music yet. Performed by Sodomsky and longtime collaborator Ryan Weiner, the songs on Take Leave are not only a culmination of this duo’s musical bona fides; they’re also all written by Sodomsky and take the listener on a journey informed by his vast musical tastes. In addition to his prolific recorded output, Sodomsky is also a veteran music journalist, and his songs (as well as the eclectic arrangements) carry the well-worn veneer of…

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The hermetic boxes that tend to get erected around traditional music can become suffocating for the people inside, and at least since Bob Dylan’s “Judas!” moment, that friction has yielded a lot of gold. Angela Autumn, the singer/songwriter nicknamed “the Rose of Appalachia,” broke into music with a bluegrass outfit called the Shelf Life String Band, and her first solo album, 2021’s Frontiers Woman, was deeply rooted in local trad styles. In 2023, Autumn started prodding at the boundaries of her folk milieu with the Willi Carlisle-featuring EP Cowboy Jack Clementine. Then came the surprise viral success of “Electric Lizard,” a vibey bit of indie psychedelia with a subtle dark streak. That song obliterated that stifling box once and for all. Autumn was free.

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Guitarist/composer Gyan Riley and guitarist/ producer Noah Georgeson were childhood friends in Nevada City, California, where they bonded over their love of classical guitar years before each carved his own successful, genre-diverse music career. (Riley has worked with the likes of John Zorn, Arooj Aftab, and his father, Terry Riley; Georgeson has collaborated with Fred Frith, Alvin Curran, and Joanna Newsom, to name a few.) Georgeson also went on to play with and produce multiple albums for freak folk artist and fellow guitar afficionado Devendra Banhart.
HUG is the trio of Riley, Georgeson, and Banhart, who got together at Sita Studio in Los Angeles without much of a plan in mind except to record some music together. The resulting…

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The deluxe edition expands on the original February 2026 release with added bonus tracks like “Heartbeat,” “Hunter,” “Skýjaborg,” and “Infinity”.
On Julia, his fifth studio album, acclaimed Icelandic folktronica musician Ásgeir steps outside of his comfort zone and eschews his father’s voice. The poetry of Einar Georg Einarsson and Júlíus Aðalsteinn Róbertsson, a friend, had provided the lyrics — sometimes via translators — of Ásgeir’s previous compositions. Now, at 33, he’s standing on his own.
It’s evident from tracks such as “Quiet Life” that Ásgeir can be a capable lyricist. “Stare into the water/ See myself swimming in the sky/ Every part of me comes to light,” it begins. It’s a song that could be about a romantic partner or…

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If it is a truth universally acknowledged that a singer-songwriter in possession of a large songbook must be in search of a band, then Oisean Burnett has gone about things in the right way. Following a move from his native Scotland to London in 2024, he papered the musicians’ hangs with posters seeking bandmates, and Starter Car is the happy result.
Their debut album, Afterlight, follows the release of four previous singles, with opening track ‘Throwing Down’ serving as the fifth.
A busy live band, Starter Car have built a following in relatively quick time, and videos of gigs at places like The Windmill in Brixton and The Shacklewell Arms show a core band of guitars, bass and drums. The album was recorded in…

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Three years on from the last Hollow Hand album, Max Kinghorn-Mills delivers a fully harmonious union of folk and indie pop on Wish Road South, his best to date. On 2023’s Your Own Adventure, Kinghorn-Mills described the process of creating and recording as an archetype of the virtues of the DIY ethic: “About just doing everything yourself and not needing to rely on anyone. That’s the one thing I love about doing this: no one has any answers for you, you are your own boss, and it’s Your Own Adventure”.
On Wish Road South, the fourth Hollow Hand album, Kinghorn-Mills has clearly been invigorated by witnessing the creative powers of his peers, whilst collaborating with the likes of Aoife Nessa Frances, serving as the house…

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Psychedelia in White, the third album from former member of Nick Cave and the Bad Seeds, Mick Harvey and longtime collaborator Amanda Acevedo, is a natural evolution from their 2023 duet debut, Phantasmagoria in Blue.
…Where the duo’s debut, and their second release, Golden Mirrors (The Uncovered Sessions Vol. 1) were predominately reinterpretations, for this album, the duo have recorded seven tracks of original material exploring some of the themes from their debut – mythology, love, hope, loss and mysticism – but with a distinct shift in musical style and an overarching theme of finding a safe space within the chaos and confusion of the outside world.
Psychedelia in White represents a seismic…

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…features the previously unreleased studio track “Accidental Tattoo” plus twelve never-before-released live recordings captured during the trio’s 2016 tour.
When artists of note collaborate on a project, the greatest obstacle is usually balance. The participants may truly respect one another, but as talent, ego, and personality enter the picture, someone is inevitably going to dominate the proceedings, and someone else will end up in the shadows. Neko Case, k.d. lang, and Laura Veirs seem keenly aware of this on the album case/lang/veirs, an album of songs the three singers and songwriters wrote and recorded between 2013 and 2015. And these songs often suggest a conscious effort to make sure everyone…

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Steered by their co-founder, Will Greenham, musical collective Blind Yeo is a hodgepodge of all-ages misfits from around the UK who found solace in an arts hub called The Cornish Bank.
Onstage, this Falmouth-based crew move about like spinning tops and dress as wizards in colorful capes. They sound a bit like fellow beach town residents The New Eves — if that band’s loose, chant-based noisemaking looked to the laidback experimentation of The West Coast Pop Art Experimental Band rather than stern-faced NYC cool.
Their debut album, The Lemoine Point, takes just a few seconds to stutter to life and snap into a Switched On Volume 1-era Stereolab groove complete with blinking arcade-game crossfire.

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Two decades into their career, a lot has changed for Fruition, a band that initially started out busking on the streets of Portland. Across eight LPs, the group has slowly evolved from a solidly reliable Americana/roots outfit to a collective willing to expand its sound. Their latest, Something More, finds them expanding into indie territory, bringing a little more rock and pop into their familiar roots-based approach.
While the opening song, “Compass,” calls back to their folk background, “Oh Well” finds them starting to stretch a bit more with some alt-country influences. The song is affecting not only because of its message, with Jay Cobb Anderson looking back on his more reckless earlier years, but also because of his delivery, which…

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