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…
Category: indie-folk
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…
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.
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…
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…
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…
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…
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…
…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…
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.
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…
…completely remastered and include a replica of Horse Feathers’ original six-song demo CD.
That echo chamber’s a dangerous thing: A number of critics have mistakingly labeled Horse Feathers — the Portland, Ore., duo of Justin Ringle and Peter Broderick — another folksy Americana troupe with an interesting vocalist. Broderick, a talented 19-year-old multi-instrumentalist, certainly adds folk instruments such as banjo, mandolin, and saw to emotive, gothic backdrops; he also accents Ringle’s quavery, near-falsetto with cello, piano, viola, violin, and various sorts of almost-funky percussion. Ignore the chatter– there’s something a bit more avant going on here.
The two approach music rustically, but the Iron & Wine name-checks are off the mark…
Montreal-via-Bowen Island, BC’s Lauren Spear bookends her sophomore album as Le Ren with a quote as it was told to her: “He said, ‘A song could love you back.'”
To summon that line here, then, is to quote a quote. Don’t Be Funny Without Me is replete with such intertextual layers that feel hard-pressed to be contained within a couple of extra punctuation marks — especially when Spear herself is as open as her acrobatic pose on the album artwork suggests, barreling through skyward songs entitled “Free Wheeling” and “Going Through the Motions” right after the intro track, “A Song Can Love You Back,” a slight rephrasing that’s decidedly more certain about the idea.
Where her debut, 2021’s Leftovers, was as…
The first thing you might notice on Sequoia Feinson’s latest album, So Long, is the warmth and directness of the songs and his arrangements. Opening track “Protegé” eases into your ears with a calm, midtempo groove, fingerpicking guitars meshing with electric piano and trumpet. The title refers to the model of car that’s being immortalized in song: “I drove an old Mazda my brother handed down / From the kindness of his being / I wish that car was still around.” Songs about cars are as old as the invention of the car itself, but Sequoia finds a way to attach his long-lost vehicle to memories of youth and make it seem fresh, relatable, and irresistible.
Sequoia currently resides in his hometown of Portland, Oregon, but So Long was produced…
Dreamin’ Of is Pieta Brown’s ninth album and her second recorded with Bon Iver alumni S.Carey and Mike Lewis producing with her and forming the rhythm section, and with Jeremy Ylvisaker returning on guitar too. Her previous album, Freeway, released in 2019, met with critical acclaim and recognition from eminent peers Ani DiFranco, whose Righteous Babe imprint released the record, and Don Was, who wrote the sleeve notes. Although there has been a lengthy gap between records, this continuity of label and band gives a palpable assurance to the album.
The record is predominantly indie-folk styled, with a production feel not unlike Daniel Lanois, with a sparse and open feel, additional instruments layered in sparingly and to add texture,…
“If I just get on my bike, I’ll outride any heartache,” sings Ella Williams on “Surfing USA,” a yawning, lovelorn paean to heartbreak in the Great Lakes. Since making her label debut as Squirrel Flower in 2020, Williams has translated her rich emotional life into a catalog of smoky indie rock and folk that careens between whispered intimacy and cathartic sprawl. She’s a Boston native who found her voice in the Midwest, beginning her career in Iowa, then adopting Chicago as her hometown and frequent muse. Say a Prayer to the Gods of Getting Going is her fourth album for Illinois indie Polyvinyl, and finds her in a similar sonic space to Tomorrow’s Fire, the 2023 album she made with co-producer Alex Farrar. This time around, she and a group of Chicago collaborators cut a live,…
When Chelsea Wolfe was interviewed by the Guardian in 2015 about her fourth album, Abyss, she revealed that her music had been informed by the bouts of sleep paralysis she’d suffered from since childhood. The condition – a transitional state between being awake and asleep – affects sufferers in different ways. Some wake up feeling paralysed, others see ghosts or demonic figures. For the California-born singer-songwriter, it meant “waking up, and you can move your body and your eyes are open, but there are figures and people from your dreams still present in your room”.
No surprise, then, that her music – a blend of drone, alt, folk, industrial and doom metal – had ended up so spookily unsettling. She appeared on album covers with pupil-less eyes, spoke…
Over the last few years Kurt Wagner has increasingly used Lambchop as a vehicle for musical exploration, with albums like This (Is What I Wanted to Tell You), Showtunes and The Bible reimagining the sound traditionally associated with the name. Much of the experimentation in sound was centred around his vocals, which were often processed through software and devices such as vocoders and autotune.
On Punching the Clown there’s still an on ongoing preoccupation with the human voice but the approach is different, primarily being focused on how voices complement each other rather than how they can be manipulated into different shapes. Alongside the human voice another key sound on the album comes from the banjo,…
