Category: indie-folk


What would be experimental folk exactly? As with any other genre, it would approximately mean that you as an artist are not taking the usual routes associated with such a genre, and it could be anything from bringing in elements from elsewhere, to not so usual performance, lyrics and anything else that might be considered ordinary.
You can get practically all of that on Bird or Snake, the second album by Chicago-based singer songwriter Emma Hospelhorn, who operates under the moniker of Em Spel. It is more or less all there – jazzy song structures, classical flutes, found sounds, subtle electronics, and lyrics that go into deeper subjects.
Hospelhorn wrote the songs and produced them herself, with additional production by…

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After more than a decade of relative silence, Diana Darby’s Otterson offers a new chapter of the singer/songwriter’s uniquely haunted sound. The insular style Darby found on previous albums remains consistent throughout Otterson, but this time around the construction was a little different. Pieced together from new songs and some older material while Darby was making the transition from recording on four-track to working with Digital Audio Workstations. Though the overcast character that has defined much of her discography doesn’t change much with these technological advances, there’s a different tint to Darby’s muted colors throughout the album.
Opening track “April” is spare, with clinks of a lonesome tambourine keeping time for…

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…There’s a moment on Sluice’s new album, Companion, where frontman Justin Morris sings about being a kid reading in a bunk on a tour bus, crying and asking “what happened to it all feeling so good?” It’s a question that drove him out of music entirely — and, eventually, back into it on very different terms.
The Durham, North Carolina quartet — Morris on guitar and vocals, Oliver Child-Lanning on bass and various instruments, Avery Sullivan on drums, and Libby Rodenbough on fiddle — release Companion, their third album and Mtn Laurel Recording Co. debut, on March 27th. It follows 2023’s Radial Gate, the album Morris made after fleeing New York for a Craigslist house in Hillsborough with then-stranger Child-Lanning, tracking…

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Stefanie Drootin and Chris Senseney are music lifers, married parents of two who have been the core of the band Big Harp essentially since they met two decades ago. As a teenager in the San Fernando Valley, Drootin committed to the DIY scene early, joining bands as a bassist before she could drive and bailing on high school with only a year left in order to tour. After Senseney met Drootin on the road in 2007, they accidentally moved to California together, got married, had their first kid, and then started Big Harp. They are lifers, and lifers make it work.
Big Harp’s fourth album, Runs to Blue, does not feel overdue. With songs of wanderlust and loss, love for your children and love for your lover, accepting one’s increasing age while also…

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Only a year on from the release of their self-titled debut album, supergroup Butler, Blake & Grant have released the follow up, Murmurs, via 355 Recordings. The record sees the trio – Bernard Butler (Suede, McAlmont & Butler), Norman Blake (Teenage Fanclub) and James Grant (Love and Money) – reimagining songs from their respective back catalogues.
Butler, Blake & Grant formed when Scottish musician, Douglas MacIntyre, who promotes FRETS Concerts, invited them to perform a low-key concert in South Lanarkshire, Scotland, guessing that they would work well together. The trio then performed all over the UK and recorded a critically-acclaimed 2024 album of original material at Blake’s home on the banks of the River Clyde.

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Following the two-person effort Could Have Done Anything (2023), Charlotte Cornfield‘s sixth album, Hurts Like Hell, is a much more collaborative outing as well as her first for Merge and her first since becoming a mother. Not coincidentally (and despite its title), it’s a warm, touching set of songs that is still packed with her often profoundly intimate observations, but this time there’s a subtle shift toward gratitude and perseverance. The collaborators include producer Phil Weinrobe (Adrianne Lenker, Lonnie Holley) and a backing band consisting of Palehound’s El Kempner (guitar, vocals), Lake Street Dive’s Bridget Kearney (bass, vocals), and Wilder Maker’s Adam Brisbin (guitar, pedal steel) and Sean Mullins (drums). The album was recorded at Weinrobe’s…

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Throughout his career José González has been a pacifying voice, delivering quiet, organically-made records that emphasize patience and humanity. He’s not particularly prolific, though when they arrive his albums tend to hit their mark — consistency, both in tone and quality, is one of his hallmarks. González rarely employs more than one or two guitars and the occasional second harmony, nor does he need to. His gentle, though commanding tenor and deft fingerpicked arrangements are enough to fill the rooms he creates. Understated as they are, his songs are also not without weight and his fifth album, Against the Dying of the Light, is his heaviest to date. It’s posed as a more outward-focused sequel to 2021’s Local Valley, his meditative fourth…

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Otracami, the project of Brooklyn-based songwriter and composer Camila Ortiz, releases her album Runoff, via Figure & Ground.
Across the eleven tracks of Runoff, Otracami layers intricate vocals, field recordings, and samples into full-band arrangements that feel overfull with life, mirroring the album’s central tension between containment and overflow. “I was trying out leaving for the first time—people and jobs and situations with family,” reflects Ortiz. “It was real trial and error—sometimes that really worked and felt liberating and other times I had to turn around and go back. It was a period of big experimentation.”
On Runoff, Otracami draws from both the landscapes of her life in New York and her childhood in Northern California, which…

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…‘Death is real, someone’s there and then they’re not, and it’s not for singing about, it’s not for making into art,’ sang Mount Eerie’s Phil Elverum on ‘Real Death’, one of a whole, heartbreaking album of songs recorded in the wake of his partner’s death from cancer. Personal grief is by its nature individual. We can never know exactly what someone else is feeling, even when they express themselves with eloquence or with complete rawness. But that doesn’t mean we can’t gain something from the experience. Elverum made art – eloquent and raw – whether he wanted to or not, and the same could be said for Joshua Burnside, who wrote and recorded It’s Not Going to Be Okay after and about the death of his best friend, the musician Dean Jendoubi.

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There’s something transformational about the music of Ellie O’Neill. The Irish songwriter’s debut album Time of Fallow picks you up in one space, and deposits you in another – listening to it, you’re left feeling like a pebble in the current, pushed downstream to pastures new. A pared-back selection of alt folk minimalism, these sketch-like pieces are uniquely powerful, resulting in a debut album that leaves a palpable impact.
Music that discusses memory, grief, desire, and self-reckoning, the material on Time of Fallow was penned in the aftermath of the pandemic, a time when Ellie O’Neill was forced to return to her family home on a County Meath council estate. A period of personal change, the songs came to reflect her queer identity, while also looking…

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Danny George Wilson follows up the Danny & The Champions of the World album, You Are Not a Stranger Here, with a collection of introspective, powerful songs. The cosmic landscapes of You Are Not a Stranger Here give way to something more plaintive, rawer and earthier. It may or may not have been Wilson’s intention, but the two albums make wonderful companion pieces. Arcade seems to find Wilson at a crossroads: it feels retrospective and nostalgic, but, like Janus, also seems to look forward – although sometimes it feels as if Wilson is stumbling towards the future.
If Arcade finds Wilson in a moment of transition lyrically, this is not the case musically. Wilson has, for a long time, been a brilliant songwriter, singer and master performer. There is now…

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If you think that covering the songs of others is easy by just picking up your instruments and microphones, than you are quite mistaken.
Sure you can do that, but then you are just a cover band/artist. Injecting something new and/or your own into the song you are covering is another kettle of fish, and doing it in a completely opposite style/genre just doubles the complexity of your undertaking.
All the possible hurdles didn’t seem to deter the Italian duo of Giacomo Pedicini and Claudia Sorvillo and their huge cast of guests to cover all their favorite hard rock/heavy metal anthems in a completely different manner on their third album under the moniker of Driving Mrs. Satan – “Late Ever After.”

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One of the defining characteristics of Moneyball, Dutch Interior‘s Fat Possum label debut, was its eclectic, shape-shifting nature as it drifted between slowcore, livelier lo-fi rock, harmonic country-rock, and more, including spacy, experimental drone music. Whether or not it served as a justification for this or actually worked (it somehow did), that trait was largely explained by the group’s sizeable six-member lineup, their varied musical backgrounds, and the fact that they all contributed music, lead vocals, and lyrics to the record.
The follow-up EP, It’s Glass, acts more like an extension of that album than a sequel in that it meanders into additional adjacent territories. The EP opens with the rustic “Ground Scores,” a minimalist alt-country love song with…

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Good to great singer-songwriters seem to be creeping up on us daily (again!) — artists obviously seem to have a greater need to try and express their personal sensibilities and whatnot as much as they did in the early ‘70s.
Stressing that good or great epithet, we can add to that list Seattle’s Sarabeth Weszely, who took the moniker of Where’s Beth.
Weszely has been around for a few years now and has some early recordings, but Ache Is Cricket in the Night stands officially as her second album and can easily serve as the best possible introduction to a wider audience.
The fact that the album was recorded live in her Seattle home studio might surprise some, as the sound has that perfect studio pitch…

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Morgan Nagler has spent years behind the scenes shaping songs for other artists, quietly building a reputation as a sharp lyricist and collaborator. In addition to fronting Whispertown, Nagler has co-written with artists like Phoebe Bridgers, HAIM, and Kim Deal, and her work on Bridgers’ “Kyoto” even earned a Grammy nomination. With I’ve Got Nothing to Lose, and I’m Losing It, her first album released under her own name, Nagler steps back into the spotlight with a set of songs that feel personal, honest, direct, and grounded in strong songwriting. Produced by Kyle Thomas (King Tuff), the record blends indie rock, folk, and country touches while keeping the focus squarely on Nagler’s voice and lyrics.
The album opens with “Cradle the Pain,”…

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Wake by singer/songwriter Foy Vance marks the end of a 26-year, seven-album project that began with the death of his father. In 1999, while playing a gig in Spain, the Belfast-born artist experienced a transcendent moment on-stage. The next morning he was informed of his father’s death from a massive coronary on that very night. Overcome by grief, he experienced a galvanizing clarity that gave him the resolve to create seven albums informed by his father’s example, each to signify his growth as an artist. Vance’s dad was a traveling preacher who moved the family from Ireland to the American South and pointed to his son’s vocation by teaching him to play guitar in early childhood. Vance’s first outing since 2021 marks the occasion of Vance bringing in Ethan Johns as…

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The themes that weave through Mud Blood Bone, the fourth record from Canada’s Cat Clyde, tackle large, universal ideas. Yet, it’s her gift for writing deeply personal lyrics that gives the album both depth and a striking sense of intimacy. From the remarkable opener “Where Is My Love,” which explores longing and absence, to the strikingly beautiful “Night Eyes,” a song about breaking free from a toxic relationship, the record moves through familiar emotional territory while feeling as confessional as reading someone’s diary.
Mud Blood Bone finds Clyde at her most confident lyrically, while the music moves effortlessly between folk, Americana, and blues. Those blues elements are immediately apparent on the album opener, “Where Is My Love.” The song…

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The Vancouver-based musician Ora Cogan exists in liminal spaces, or, rather, her music does. It transcends anodyne signifiers — folk-gaze and psych rock — to reach an indeterminate realm, where her prayer-like songs float like mist. Ephemerality prolongs. Her songs are the stuff of dreams until they morph into a nightmare: the nymph-like Cogan will lure you to a river for ablutions before drowning you like Omie Wise, or something like that. Yet you’re happy to bear witness — in fact, ecstatic.
Yes, Cogan has a similar folksy gothic aesthetic to PJ Harvey‘s White Chalk era. You know, full of witchy incantations, where ghosts linger in the shadows. Spirits in the ether — all that normal stuff. Yet being a mystic will only…

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