No Medium melds Linda Rondstadt’s tender command with Crazy Horse-esque exploration for the most powerful country-rock barn burner in recent memory – vulnerability, twang and brawn fused in an elegant dance.
Guests Brian Eno, Nick Cave (on pellucid piano) and cellist Vincent Ségal add further depth to arrangements that never intrude, yet are nonetheless striking. What lingers is that vivid voice, as heroically time-worn as the effigy of Shelley’s “Ozymandias”.
He tells a sad story but one enlivened by his skills as a guitarist, his expressiveness as a singer and his insights as a lyricist ... Every song has at least one line that will stop you in your tracks, some songs two or three.
There’s not a single predictable second to be found on Cavalcade.
It's a clever trick: blending specific details straight from memoir with the eloquence of hindsight and, where needed, a pinch of wilful fiction, finding points of universal connection amid all the personal nostalgia.
Black Encyclopedia... is less abrasive but no less urgently meaningful, a fusion of experimental hip-hop, soul, poetry and jazz-etched beatscapes that ebbs and flows around the concept of an Afrofuturist universe.
On ...Last Of The Great Thunderstorm Warnings, we hear The Besnard Lakes make a very contemporary take on psychedelic music; wise to rock history but not in thrall to it, more interested in asking the big questions than senselessly adding to the canon.
An album of differing intensities, of gentle revelations. Its varying recording quality reflects the length of time it took to assume its final shape — Shade changes spaces as often as moods.
BRM's second is a dazzling stylistic display on which Aaron Dessner and Justin Vernon are joined by talented friends whose pristine singing rubs against Vernon's treated vocals and glitchy grooves to consistently throw off sparks.
A step forward from 2018’s The Morning Star, Axacan finds the Virginian exploring new contexts for his Primitive American guitar music.
It is also the most emotionally mature and fully realised work Gillespie has delivered in years, laying rainy, soulful, impassioned vocals over sumptuously old-school chansons clothed in vintage orchestrally country-rock arrangements.
Fortunately, My Morning Jacket .... is frequently thrilling, and its pilfering from America's classic rock catalogue — including The Allman Brothers, The Doobie Brothers, Creedence Clearwater Revival, The Band and Crazy Horse - is affectionate and celebratory.
I Know I'm Funny haha could have been made by no-one else but Faye Webster.
For all its exotic genesis, The Nearer The Fountain, More Pure The Stream Flows is soaked in a peculiar English melancholy.
It's a story-in-instalments country record, and brilliantly realised.
Marrying post-rock, folk and electronic beats, complete with poetic tales of love, death and sex, the album captures life’s pendulum swing between beauty and bleakness.
With its organic, relaxed feel and experimental boldness, Barnett's third may be her finest album todate.
Rousing, rueful andvery funny: one of their best yet.
It would be foolish to wish away what we have — Endless Arcade exists, and it's excellent, with enchanting melodies, emotional depth and a few unexpected evolutions.
A clear case of natural evolution, rather than calculated reinvention — and a record that opens a fresh chapter in Walker's story.
The 20-year-old punctuates beautifully languid, trip-hoppy vignettes witha voice redolent of Martina Topley-Bird and a neat line in spoken-word poetic musings.
To keep that hunger alive, you need to feed it with new inspirations. What you can hear on Fat Pop is the reciprocation of that care.