In a time when the popular choice is to chase the double yellow line down the road to country radio, Boy Named Banjo thrives on its fringes. The Nashville-raised five-piece is a fusion of contemporary country, Americana and folk-rock stacked on a foundation of bluegrass. The band, which has been together in some iteration since members were in high school, includes Barton Davies (banjo), Ford Garrard (bass/standing bass), Sam McCullough (drums) Willard Logan (mandolin, acoustic/electric guitar) and William Reames (acoustic guitar/harmonica). Reames and Logan played in a middle school garage rock band together, but it wasn't until Reames met Davies in high school that Boy Named Banjo started taking shape. Garrard and McCullough joined later and together the five guys comprise the band Boy Named Banjo that we know today. Boy Named Banjo has crafted a sound that incorporates an energetic blend of country, bluegrass, alt-rock, and folk-pop telling their stories through an honest, emotional, roots-driven perspective. In April 2020, Boy Named Banjo signed a record deal with Mercury Records Nashville and released their debut EP, Circles, the following year. Boy Named Banjo spent 2022 on the road playing some of country music�s largest festivals including Dierks Bentley�s Seven Peaks and Country Jam, Kip Moore�s Fire on Wheels Tour, they made their CMA Fest debut playing at the Ascend Amphitheatre Nighttime Concert, and played a sold-out hometown show at Nashville�s Brooklyn Bowl. The band most recently released the tracks �Heart In Motion� and �Heart Attack,� and is currently prepping its next project to be released in spring of this year.

Villager was the debut solo album by Mother Earth singer, Paul Weller band member and erstwhile Noel Gallagher replacement in Oasis, Matt Deighton. A pastoral folk album that sits perfectly alongside Nick Drake's Bryter Later and Solid Air by John Martin. Originally released in 1995 it garnered great reviews from NME, Q and the Guardian, and on it's 2011 reissue was named by Mojo as a Buried Treasure. Remastered from the original production master by Nick Robbins at Sound Mastering (Ace Records, The Small Faces), the vinyl sounds incredible. This new edition is released on Acid Jazz's People Tree subsidiary and is pressed on milky clear transparent vinyl.

On her first new album in five years, Valorie Miller writes about one of the most beautiful pieces of land near Asheville, North Carolina - but not in a way one would expect. The narrative of Only The Killer Would Know emerged after Miller discovered that her acre of land in Swannanoa sat adjacent to, if not in the middle of, a hazardous waste area overseen by the government.Dealing with health issues and eventually leaving the property, Miller finally figured out the connection years later by talking to her former neighbors and independently researching the site. "It's a big, scary, horrible subject, and a lot of these songs grew out of that," she says. "There's not much you can do about those places. They will be toxic for our lifetime and for lifetimes to come. Writing a song is always how I've addressed things in my life, but I've never had an inspiration quite like this." Recorded in Asheville with rising producer Kayla Zuskin, the album begins with "Apocalachia," with wrenching lyrics that confront the situation head-on. "Field of Flowers" then offers a poignant message about growth and accountability, especially when it comes to how we treat the earth. Miller lifted a phrase from the national anthem for "Home of the Brave," a song about personal fortitude that she wrote in anticipation of a local show around the Fourth of July. "You hear that term in detective shows, when somebody has insider information," she says. "With Only the Killer Would Know, the 'killer' refers to the people who dump that stuff in the ground. Some eerie, dreamlike vibe seeps into the later songs on Only The Killer Would Know, due to the innovative Asheville musicians that Zuskin brought into the sessions. In the studio with a female producer for the first time, Miller describes the whole experience as not just smooth, but "shockingly relaxing." "Before this album, I've always gone in the studio and tried to figure it out with barely any money. That can hold you back in certain ways, especially if you're nervous and unsure about the people you're working with," she says. "It's a huge relief to make this album. I've always wanted to make a record that I really like from start to finish, and I'm so glad that it happened. I'm a late bloomer, I think. I feel like, moving forward, I could make even more music this way."

Gold Dust: Live At The Royalty, featuring highlights from Sandy Denny�s final concert, is making its debut on vinyl. Recorded just months before her untimely death in 1978, this special release attempts to present the record that Sandy might have released had she lived. The concert features a career-spanning set that includes songs taken from her band Fotheringay, Sandy�s solo albums (The North Star Grassman and the Ravens, Sandy, and Rendezvous), as well as her work with Fairport Convention on the albums Unhalfbricking and Rising for the Moon. This final performance perfectly captures the folk-rock sound with a stellar group of musicians including Trevor Lucas, Jerry Donahue, Pat Donaldson, Dave Mattacks, among others. It showcases the quality of Sandy�s songwriting throughout her career and includes her signature composition, �Who Knows Where the Time Goes?� � which was the first song she ever wrote � and �No More Sad Refrains� which closed her final album. Remastered from the restored tapes, this release features Sandy�s spoken introductions to each song, comprehensive sleeve notes, and brand-new artwork designed specifically for this release.

Side A:
1. I Wish I Was A Fool For You (For Shame For Doing Wrong) - Live
2. Gold Dust - Live
3. The North Star Grassman - Live
4. Nothing More - Live
5. Tomorrow Is A Long Time � Live
6. The Lady - Live

Side B:
7. Stranger To Himself - Live
8. It'll Take A Long Time - LIve
9. John The Gun - Live
10. Who Knows Where The Time Goes - Live
11. No More Sad Refrains - Live

A seven-track blue vinyl EP, exclusively for Record Store Day 2022, including �Struck By Lightning�, featuring Cavetown.�

Side A
1. Struck By Lightning (feat. Cavetown)
2. Remember That Night?
3. Traffic Lights
4. Backseat Rider
Side B
1. Freeze
2. Future Kids
3. Picture OF You

With The Sun is Sunny War's third studio recording. The album was recorded at Hen House Studios in Venice Beach, CA. The album was mixed and produced by Harlan Steinberger, and mastered by Bernie Grundman. With The Sun is truly a distinctive Venice creation. Pressed on brown colored vinyl.

Limited clear colored vinyl LP pressing. 2014 EP from The Weather Station now available worldwide from Fat Possum. With brothers Cook from Bon Iver, Hiss Golden Messenger, Megafaun et al

Comprising a new studio record, a book of photography, lyrics, and essays, Western Skies is an immersive journey through a world both real and imagined, inspired by the west Texas landscape.�

Anais' first solo studio album in over a decade will be released January 28th 2022. The self-titled album was produced by Josh Kaufman (of Bonny Light Horseman) and it features other core players including Michael Lewis, JT Bates, Thomas Bartlett and Aaron Dessner.

On in february, Isik Kural works like a photographer of sound, documenting the passing and returning of time as if material snapshots of life's temporality. Across the album's twelve songs, each composed from chance loops and cocooned within the soft container of Isik's memorable voice and melody play, time is held on to hopefully, impossibly, eternally.Born in Istanbul, Isik studied music engineering at the University of Miami, alighted in New York City, and eventually settled in Glasgow, immersing in a sound design masters and audiovisual practice. While these paths guided him between different projects and cities, a voice was simultaneously growing inside the artist, informed by a vision of the world in it's everyday luminosity. This voice was expressed in the lyrical and instrumental waves of 2019's As Flurries, a cassette collection for Italian label Almost Halloween Records.It was during a brief trip home to Istanbul in 2019 that the invisible details of in february were first exposed. While assisting on a session at his old haunt Babajim Recording Studios, Isik happened upon a beautiful piano, the kind "in which you hear a melody with the touch of a single note." A looped segment from a recording of improvised tinkering on the instrument formed the basis "pillow of a thought, " which christens Isik's new album. A bed for a passing notion, image, moment. Adopting this novel way of working, Isik produced another twelve passages made from loops of unexpected recordings, nothing over three minutes. Eschewing both compositional plans and live performance proclivities, which had informed previous creative explorations, Isik sought a more instantaneous effect. Minute nylon string refrains, lilting synthesizer hums, and a scrap of a chamber recital are collaged with sympathetic verse and synesthetic details captured around Glasgow and activated at Green Door Studios. Literary images also accompany the sensory of in february, weaving wanderlust symbolism through these spiraling studio and field documents. At the center of the album, "lo si aspetta" and "che si aspetta, " are titled after a telling line from Pier Paolo Pasolini's The Long Road of Sand. Other word works are yoked to this promise. A verse by Turkish poet Gulten Akin, which connects the weather to lost friendship, meets a translation of Sophokles by Anne Carson in "yeniden, " one of three collaborations with vocalist Stephanie Roxanne Ward, pka spefy, on in february.Isik treads lightly between the streams of poetry, sound and photography across in february, together impressing an imagistic lightness and immediacy. Although quick as the blink of a camera's eye or the brush of two hands in passing, the brevity of these works should not be taken for granted: they whisper into each other with elaborate detail, intuitively papered over old and new stories of love and longing. Isik Kural's in february will be released on October 15, 2021 on vinyl, cassette, compact disc, and digital formats. On behalf of Isik, a portion of the proceeds from this release will benefit Turkiye Egitim Gonulluleri Vakfi, an organization that creates and conducts workshops, educational training programs and after school programs for children across Turkey.

On in february, Isik Kural works like a photographer of sound, documenting the passing and returning of time as if material snapshots of life's temporality. Across the album's twelve songs, each composed from chance loops and cocooned within the soft container of Isik's memorable voice and melody play, time is held on to hopefully, impossibly, eternally.Born in Istanbul, Isik studied music engineering at the University of Miami, alighted in New York City, and eventually settled in Glasgow, immersing in a sound design masters and audiovisual practice. While these paths guided him between different projects and cities, a voice was simultaneously growing inside the artist, informed by a vision of the world in it's everyday luminosity. This voice was expressed in the lyrical and instrumental waves of 2019's As Flurries, a cassette collection for Italian label Almost Halloween Records.It was during a brief trip home to Istanbul in 2019 that the invisible details of in february were first exposed. While assisting on a session at his old haunt Babajim Recording Studios, Isik happened upon a beautiful piano, the kind "in which you hear a melody with the touch of a single note." A looped segment from a recording of improvised tinkering on the instrument formed the basis "pillow of a thought, " which christens Isik's new album. A bed for a passing notion, image, moment. Adopting this novel way of working, Isik produced another twelve passages made from loops of unexpected recordings, nothing over three minutes. Eschewing both compositional plans and live performance proclivities, which had informed previous creative explorations, Isik sought a more instantaneous effect. Minute nylon string refrains, lilting synthesizer hums, and a scrap of a chamber recital are collaged with sympathetic verse and synesthetic details captured around Glasgow and activated at Green Door Studios. Literary images also accompany the sensory of in february, weaving wanderlust symbolism through these spiraling studio and field documents. At the center of the album, "lo si aspetta" and "che si aspetta, " are titled after a telling line from Pier Paolo Pasolini's The Long Road of Sand. Other word works are yoked to this promise. A verse by Turkish poet Gulten Akin, which connects the weather to lost friendship, meets a translation of Sophokles by Anne Carson in "yeniden, " one of three collaborations with vocalist Stephanie Roxanne Ward, pka spefy, on in february.Isik treads lightly between the streams of poetry, sound and photography across in february, together impressing an imagistic lightness and immediacy. Although quick as the blink of a camera's eye or the brush of two hands in passing, the brevity of these works should not be taken for granted: they whisper into each other with elaborate detail, intuitively papered over old and new stories of love and longing. Isik Kural's in february will be released on October 15, 2021 on vinyl, cassette, compact disc, and digital formats. On behalf of Isik, a portion of the proceeds from this release will benefit Turkiye Egitim Gonulluleri Vakfi, an organization that creates and conducts workshops, educational training programs and after school programs for children across Turkey.

Limited green colored vinyl LP pressing. Meg Baird and Mary Lattimore's collective work - as solo artists, band members, and collaborators - could fill a small record collection. Despite this productivity, these two long-time friends have never recorded an entire album focused exclusively on their unique talents. "Ghost Forests" mysteriously, thrillingly fills that void - within it's six collaborative compositions we hear deeply sympathetic conversations between the two artists. With access to a deep pool of shared influences, these two friends assembled a collection of sounds conjured from harp, guitar (both acoustic and electric), synths, the human voice, and a shared poetic language. Baird and Lattimore's subjects range from the sound of light on water, seismic geopolitical anxiety, the smog-exploded sunsets of Don Dudley's paintings, and vertigo from their respective relocations to San Francisco and Los Angeles from their once-shared home in Philadelphia.

This is the kind of songwriting I've always been drawn to," says Jeremy Ivey. "The perpetual motion, the intricate melodies, the sprawling arrangements. This album is the real me." Juxtaposing raw, unflinching personal reckonings with jaunty, buoyant melodies and rich, kaleidoscopic production, Invisible Pictures, Ivey's third album for ANTI- Records, is indeed a revelation. Though the songs are rooted in a 21st century swirl of chaos and uncertainty, the record is, at it's core, an undeniably feel-good collection, one that refuses to surrender to the existential ache it so artfully captures. Instead, Ivey embraces the sheer, unmitigated joy of creative freedom and sonic exploration here, drawing on everything from flamenco and classical music to vintage indie rock and British Invasion tunes to craft a passionate, transcendent album more reminiscent of John Lennon or Elliott Smith than anything coming out of Nashville these days. "I try to put a little bit of hope into everything I do," Ivey reflects. "No matter how heavy, no matter how dark things may get, there's always a little bit of light shining through.

This is the kind of songwriting I've always been drawn to," says Jeremy Ivey. "The perpetual motion, the intricate melodies, the sprawling arrangements. This album is the real me." Juxtaposing raw, unflinching personal reckonings with jaunty, buoyant melodies and rich, kaleidoscopic production, Invisible Pictures, Ivey's third album for ANTI- Records, is indeed a revelation. Though the songs are rooted in a 21st century swirl of chaos and uncertainty, the record is, at it's core, an undeniably feel-good collection, one that refuses to surrender to the existential ache it so artfully captures. Instead, Ivey embraces the sheer, unmitigated joy of creative freedom and sonic exploration here, drawing on everything from flamenco and classical music to vintage indie rock and British Invasion tunes to craft a passionate, transcendent album more reminiscent of John Lennon or Elliott Smith than anything coming out of Nashville these days. "I try to put a little bit of hope into everything I do," Ivey reflects. "No matter how heavy, no matter how dark things may get, there's always a little bit of light shining through.

Since the demise of his previous band Ultimate Painting, Jack Cooper - under his Modern Nature guise - has never stopped looking ahead, exploring and reaching for something further. Since 2019, he's released an EP, last year's mini album Annual, one full length LP, one 7" and three live cassettes - in the process mapping out astonishing new terrain. Constructed over the last 12 months, his beautiful new album, Island Of Noise, presents an obvious new peak in his discography and represents an absolute career highlight.

10 Year Anniversary Edition of Sturgill Simpson's debut album�High Top Mountain.�The anniversary edition includes an "Old King Coal" blacked out album cover with a glossy embossed�jacket, and is pressed on translucent black vinyl.�Sturgill Simpson's authenticity stands out like an island of hope in a sea of tacky. Pure and uncompromising, devoid of gloss and fakery. High Top Mountain�s dozen instant classics evoke the sound of timeless country in its many guises and brings back the lyrical forthrightness and depth that permeated the music Simpson absorbed during his Kentucky childhood. Bonafide mountain hillbilly soul, as pure as you are going to find anywhere.

Recorded at Middle Farm Studios in Devon earlier this year as restrictions eased and produced by Seth himself, the album is being released on his own label, Honour Oak Records. Inspiration for the songs on his 11th studio album came from a range of subjects - from the environment to love, death and self-belief.

"'How Is It That I Should Look At The Stars' is an introspective record of songs which were written alongside those that appeared on Ignorance. It is intended not to be a follow up, but to be a companion piece, a piece of reflection and quiet, meant to hold stillness in the aftermath. It was recorded live, as a performance; an improvisation, with a group of Toronto jazz musicians. I imagined it as a record of ballads; simple, pure, almost naive, but speaking to many of the same realities as 'Ignorance' does. I see the two albums as two halves of the same coin; the moon and sun, a photograph and a photonegative." - Tamara Lindeman.

Guitarist Scott Metzger spent the past decade earning a reputation as one of the most adventurous improvisers in live music. When he wasn't sharing the stage with the likes of Phil Lesh, John Scofield or Nels Cline, he was playing to massive crowds with Joe Russo's Almost Dead. His musical interests, however, run broader than those bona fides might suggest. During breaks he pursued projects like WOLF!, a hard-charging, fully electrified guitar trio that balanced tight compositions with group improvisation, and the Showdown Kids, an acoustic gypsy jazz trio. And once in a great while he booked a solo acoustic show, most notably a 2018 sellout at New York's iconic Joe's Pub.

Shinyribs defies genres as a sonic melting pot of Texas blues, New Orleans R&B funk, horn-driven Memphis soul, country twang, border music, big band swing, and roots-rock. The Austin-based nine-piece (sometimes 10-piece) supergroup is led by Kevin Russell, the charismatic frontman with colorful suits and extravagant shoes who continuously swaps out an electric guitar for a ukulele and never falls short of creating a cinematic experience with on-stage antics that often include him donning a light-up cloak or leading a conga line through the crowd. Late Night TV Gold is filled with Caribbean organs, verbed-out distant delay vocals, chunky fatback guitars, dance hall horns, trip-trap, soul-tap, boldface bass, mellotron traced, late-night rhythms, -isms and -gasms, prisms, schisms, and chasms, this'ems and that'ems of molecular musical atoms splitting hairs and lost heirlooms. "This record reminds me of the tortoise from the old story with the hare. It has this sort of stout, relentless march to it. It's hopeful and resolute but pushing through resistance. I guess the world went from all hare to all tortoise so it's less-than-surprising that you can feel the reflection of that in the songs. There is a lot of blur and shade and random splattered sinewy mop bucket melody. I like that it's shaking hands with a lot of roots music that one doesn't instantly associate with my voice," Russell shares.

"Andy Irvine and Paul Brady (former Planxty members) team up for one of the greatest albums ever of traditional Irish songs. Their unique sound will stay with you long after the music has stopped." -AllMusic Compass Records Group is announcing the SPECIAL EDITION release of the Mulligan Records classic ANDY IRVINE / PAUL BRADY. Long thought of as one of the seminal releases in the Irish music cannon, the album has been praised by artists such as Bob Dylan (who recorded Paul Brady's arrangement of "Arthur McBride And The Sergeant"), Bono, Mary Chapin Carpenter, Liam O'Maonlai (Hothouse Flowers), and Radie Peat and Daragh Lynch (both of Lankum).In 1976, Andy Irvine and Paul Brady, fresh from the demise of the Irish supergroup Planxty, entered legendary Rockfield Studios in Wales with mystic producer/bouzouki player Dónal Lunny and fiddler Kevin Burke to record what has become an Irish Music classic. ANDY IRVINE / PAUL BRADY propelled them to be viewed as one of the most accomplished Irish traditional duos that have ever recorded. All these years later perhaps no record more pointedly reflects the time and the spirit of innovation within one genre of music. This Special Edition marks the first time the vinyl album has been pressed since the 70s. For this ultimate version, the ten track album was remastered from the original analog tapes, which were transferred at 192k/32 bit to maintain the highest resolution, mastered with the best combination of classic analog and state of the art digital equipment, and packaged both as a gatefold LP and tri-fold CD wallet. Both formats include a 12,000 word essay by noted music journalist Gareth Murphy (Cowboys and Indies - The Epic History of the Record Industry and Siren Song: My Life in Music [with Seymour Stein]), and include interviews with Andy Irvine, Paul Brady, Dónal Lunny and Kevin Burke, as well as testimonials from artists including Glen Hansard, Liam O'Maonlai, Brian MacGloinn of Ye Vagabonds, Daragh Lynch of Lankum, Consuelo Nerea Breschi and Lucie Azconaga of Varo, PJ Curtis and more.

Adam Green and Kimya Dawson originally crossed paths at an open mic night in Mount Kisco, New York in the early 90s. From there they went on to record a surplus of home recordings with various friends under the moniker The Moldy Peaches, and eventually became staples in the NYC anti-folk scene of the late 90's/ early 2000's. After releasing several albums that gained traction in the U.S. and UK, the group broke into the mainstream when their song "Anyone Else But You" appeared in the hit indie film "Juno" (2007).Origin Story: 1994-1999 is a collection of songs, unreleased demos, live tracks, and poems from the early years of The Moldy Peaches, and outline the tale of how the band came to be. Liner notes written by Adam and Kimya detail the stories behind each track and rare photos included in the packaging help to illustrate the life and times of the duo when they were young.

In the nearly 9 years since their origins in early 2012, Midnight North has established itself as a mainstay on stages in both the Bay Area roots music scene and on the nationwide touring circuit. They have opened for acts like Phil Lesh, the Infamous Stringdusters, Twiddle, & Jackie Greene, played festival stages across the country. Rolling Stone also hailed Midnight North as the "Best New Act" in its review of 2018's Peach Music Festival. Gatefold Jacket.

With its latest album, �Get Yourself Outside,� Colorado-based quintet Yonder Mountain String Band once again echoes out into the universe its place as not only a pioneering jam-grass act, but also one of the most innovative, intricate groups in the live music scene � something the groundbreaking ensemble has proudly held high for the better part of a quarter-century.

�The whole thing has always been about the energy and the connection with all of us onstage and everyone out in the audience,� says guitarist Adam Aijala. �And with this third iteration of Yonder Mountain, we�re really tapping into that onstage connection once again.�

This �third chapter� of YMSB is one of my facets. Aside from the obvious nature of the new album, it�s a complete restart for the live music industry. Internally, it�s also a fresh start for the group in welcoming its newest member, mandolinist Nick Piccininni.

Recorded during the shutdown at Cinder Sound Studio (Gunbarrel, Colorado) with producer John McVey, �Get Yourself Outside� (Frog Pad Records) is a musical odyssey of string instruments and sonic textures.

There�s the usual foot-stomping jingles and sorrowful ballads that reside at the core of the Yonder Mountain signature tone. But, there�s also a deep, honest sense of renewal and rejuvenation running through the heart of the record.

And, by being back on the road, Yonder Mountain has been taking note of its long, bountiful journey from its foundation in 1998 to the here and now ��with its 25^th anniversary just around the corner.

It�s also a testament to the life and legacy of Yonder Mountain that three of the founding members � Aijala, Kaufmann and banjoist Dave Johnston � remain at the helm of this American musical institution, something complemented and accelerated in recent years by the fiery fiddle work of Allie Kral, who joined the group in 2015.

Looking back on those early days, the members of Yonder Mountain can�t help but shake their heads in awe � of where it all originated from, and what the live music landscape looked like at that time.

From selling out Red Rocks Amphitheatre at a time when that was unheard of for a string act, to standing at the microphone in front of tens of thousands at festivals like Bonnaroo, Yonder Mountain was the initial spark in an acoustic inferno decades ago that endures headlong into the 21st century � one burning brightly in an ongoing tidal wave movement that now includes marquee names like Billy Strings, Greensky Bluegrass, and The Infamous Stringdusters.

Grammy award-winner, Aoife O'Donovan's first solo studio album since 2016 was produced by Joe Henry and recorded at Full Sail Studios in Orlando, Florida. The co-founder of the trio, I'm With Her, continues her passion for collaboration on this album that includes guest appearances by Madison Cunningham and Allison Russell. The album's singles include "Phoenix," "Passengers," and "Sister Starling." The Deluxe version of this album has a bonus disk with 8 of the album tracks re-recorded in the studio and performed solo acoustic by Aoife.

Indie Exclusive Transluscent Blue. Country Music Hall of Famer, five-time Grammy-winner, and AMA Lifetime Achievement honoree Marty Stuart picks up where he left off on Altitude, his first new album in five years, exploring a cosmic country landscape populated by dreamers and drifters, misfits and angels, honky-tonk heroes and lonesome lovers. There's a desert flare to the music here, a sweeping, spacious feel that conjures up wide-open horizons and endless stretches of two-lane highway, and the production is raw and cinematic to match, tipping it's cap both to Bakersfield and Laurel Canyon as it balances jangle and twang in equal measure. While it would be easy for an artist as accomplished as Stuart to rest on his laurels, Altitude instead showcases the work of a searcher with an insatiable appetite for growth and reflection, one whose ambition, much like his keen wit and rich imagination, only seems to grow with each and every release. Born and raised in Philadelphia, MS, Stuart got his start in bluegrass legend Lester Flatts' band at the tender age of thirteen, and by twenty-one, he was working in the studio and on the road with Johnny Cash. Though Stuart built his early reputation backing up royalty, it wasn't long before Nashville recognized him as a star in his own right, and over the course of forty-plus years as a solo artist, he would go on to release more than twenty major label albums, scoring platinum sales, hit singles, and just about every honor the industry can bestow along the way.

Hair and hide is literally what bluegrass and old time music is made of. Focusing on the raw materials of the fiddle and banjo, in tandem with the stripped back sound of only the two instruments, is both a classic and revolutionary choice on fiddler George Jackson's sophomore record Hair & Hide. To assemble these fourteen tracks, he enlisted seven banjoist friends-who also happen to be some of the finest players of their generation-such as Brad Kolodner, Jake Blount, Frank Evans, BB Bowness, Joe Overton, Wes Corbett, and Uma Peters. Each player recorded two tunes, a traditional and an original Jackson wrote to suit their individual playing style. Throughout the album each duo explores improvisation in traditional music and juxtaposes archaic Appalachian tunes with the progressive side of bluegrass music. You might assume the album is a niche listen, but it's quite the opposite as Jackson explores the full sonic palette of these two key roots music instruments. From trance-inducing moody original tunes to classic barnburners, the album has something for serious or casual folk music fans alike. The end result is as unique as Jackson's musical background-he was born in New Zealand but has lived in Nashville for a number of years. It's hard to tell which tunes are original and which are generations old and that's exactly how he wants you to hear them.

Produced by Oliver Wood and Jano Rix of The Wood Brothers. "Steve Poltz is a living example of the American music tradition, a songwriter who can bend your ear with a hooky melody, then break your heart with a wry observation about the human condition." - Popmatters "Steve is the ultimate troubadour-a highly engaging storyteller and performer. I'm glad our paths crossed all those years ago." -Jewel Throughout over three decades in music, Steve Poltz has done it all and more - he co-wrote Jewel's Hot 100-topping megahit "You Were Meant For Me," fronted '90s underground legends The Rugburns and has built a huge cult following for his solo tours. A gonzo entertainer, storyteller and prolific collaborator (Billy Strings, Molly Tuttle, to name just two), Poltz, now in Nashville, enlisted members of The Wood Brothers for Stardust and Satellites. It's an album dealing with loss (he's lost both parent's in the past two years), simple joys and childhood memories - summer baseball games, a stint he did with Up with People, and more. This could be his best yet!

In 2020 Brooklyn's Holy Hive introduced us all to something we didn't know we needed. Homer Steinweiss' thickly pocketed drumming paired with Paul Spring's floaty falsetto vocal produces a sound that's like a salve. It's been dubbed Folk Soul and Holy Hive not only expertly overlay the more apparent musical aspects of folk and soul-but they also draw from the more profound: being able to pull traditions from the past and make them their own. When Homer wasn't playing drums for Lady Gaga or Adele or Bruno Mars, he'd produce Paul's solo folk records. Along with original bassist and frequent collaborator Joe Harrison, these sessions proved to be Holy Hive's foundation. And their first record, Float Back to You, expertly combined what each musician does best: Paul's heady, reflective approach to folk with Homer's universal classic soul sound. With their new record released on Big Crown, Holy Hive's beautifully simple-and-sparse Folk Soul sound is back-but updated. With new influences and the challenge of creating and capturing music during a global pandemic, this new self-titled album, is more personal, more reflective. The first single off of Holy Hive, "I Don't Envy Yesterdays," picks up right where Homer and Paul left off. The song weighs the question of time and the human condition-a deeply thoughtful and typically tricky subject-but in a light, almost easy-breezy way. Homer's drumming provides the song a space, a kind of breathing room. Written in the Yucca Valley desert before the world broke in 2020, it's no wonder Paul's voice drifts and darts on top of it all like a heat shimmer. They describe three distinct phases when piecing together Holy Hive: this first stage was pre-pandemic in California while traveling as a group, then-like the rest of us-they were separated, creating together but apart, and lastly an explosion of output once they reunited in New York. There is a natural but subtle evolution for Holy Hive on this record. Homer and Paul drew from new and maybe more obscure-yet-honest influences. It's still very much Folk Soul-how could it not be. But, like all artists, they've taken in what they've made and how they've made it, only to push it into new places. We know of Holy Hive's ability to lyrically convey the abstract and complex in poetic and palatable ways. But where the first record was soulfully silver-tongued with chill songs about love and affection, Holy Hive widens the lens with these novel influences, reflecting the points both Homer and Paul are in their own lives. "We put the utmost importance on having lyrics that mean something to us," Homer explains. "A lot of the songs on the first record were fun, but could be kind of surface. On this record, we wanted to be more personal-we wanted to write more about life."

In 2020 Brooklyn's Holy Hive introduced us all to something we didn't know we needed. Homer Steinweiss' thickly pocketed drumming paired with Paul Spring's floaty falsetto vocal produces a sound that's like a salve. It's been dubbed Folk Soul and Holy Hive not only expertly overlay the more apparent musical aspects of folk and soul-but they also draw from the more profound: being able to pull traditions from the past and make them their own. When Homer wasn't playing drums for Lady Gaga or Adele or Bruno Mars, he'd produce Paul's solo folk records. Along with original bassist and frequent collaborator Joe Harrison, these sessions proved to be Holy Hive's foundation. And their first record, Float Back to You, expertly combined what each musician does best: Paul's heady, reflective approach to folk with Homer's universal classic soul sound. With their new record released on Big Crown, Holy Hive's beautifully simple-and-sparse Folk Soul sound is back-but updated. With new influences and the challenge of creating and capturing music during a global pandemic, this new self-titled album, is more personal, more reflective. The first single off of Holy Hive, "I Don't Envy Yesterdays," picks up right where Homer and Paul left off. The song weighs the question of time and the human condition-a deeply thoughtful and typically tricky subject-but in a light, almost easy-breezy way. Homer's drumming provides the song a space, a kind of breathing room. Written in the Yucca Valley desert before the world broke in 2020, it's no wonder Paul's voice drifts and darts on top of it all like a heat shimmer. They describe three distinct phases when piecing together Holy Hive: this first stage was pre-pandemic in California while traveling as a group, then-like the rest of us-they were separated, creating together but apart, and lastly an explosion of output once they reunited in New York. There is a natural but subtle evolution for Holy Hive on this record. Homer and Paul drew from new and maybe more obscure-yet-honest influences. It's still very much Folk Soul-how could it not be. But, like all artists, they've taken in what they've made and how they've made it, only to push it into new places. We know of Holy Hive's ability to lyrically convey the abstract and complex in poetic and palatable ways. But where the first record was soulfully silver-tongued with chill songs about love and affection, Holy Hive widens the lens with these novel influences, reflecting the points both Homer and Paul are in their own lives. "We put the utmost importance on having lyrics that mean something to us," Homer explains. "A lot of the songs on the first record were fun, but could be kind of surface. On this record, we wanted to be more personal-we wanted to write more about life."

Existing in the liminal space between Bon Iver, James Blake, and Imogean Heap, "Beamorose" builds upon the signature shapeshifting vocals of Penelope Antena (heir to the famed synthpop band Antena and Marc Moulin's "Placebo") by twisting Americana, Gospel, and Folk through a Kaleidoscopic lens, crafting a unique & soulful form of Avant-Pop.  Penelope Antena is the heiress to a musical legacy of mythical stature, living and creating on a mountaintop in the Occitanie region of southern France. Her grandfather, Belgian pianist and Jazz-Rock Pioneer Marc Moulin (Placebo, Telex, Aksak Maboul) and mother, founding member of the 80s electro-samba group Antena, Isabelle Powaga, played a tremendous role in supporting and inspiring Penelope to shine in the shadow of their creative heritage.

Singer/songwriter and multi-instrumentalist Parker McCollum is following up his breakout major label debut,�Gold Chain Cowboy, with his forthcoming studio album, Never Enough, out May 12 (MCA Nashville). McCollum earned his first-ever No. 1 hit with his double-platinum certified premiere single, �Pretty Heart,� and his follow-up gold certified single, �To Be Loved by You,� also hit No. 1 on the charts.

Everything is alright now. Alex Brown Church - the man behind the dark folk, indie rock band Sea Wolf - wants you to know that from the start. Really. Sea Wolf's eagerly anticipated fifth LP, Through A Dark Wood, proves it in 11 textured, sometimes-acoustic, sometimes-electronic, unabashedly honest tracks. But beforehand, everything was decidedly not okay. Church wrote and recorded an entire album after 2014's streaming-only, stripped down album Song Spells No. 1: Cedarsmoke, but decided to scrap it. He realized those songs lacked a through-line and felt conceptually disjointed, something he attributes to a sense of denial of what had been going behind the scenes - dealing with the disintegration of a long-term relationship, reconciling with the death of an estranged parent, and trying to cope with the magnitude of current events, all while maintaining a passionately beloved, yet slow-burning creative career.

Aoife O'Donovan Age Of Apathy Bone Vinyl LP - Aoife O'Donovan Grammy award-winner, Aoife O'Donovan's first solo studio album since 2016 was produced by Joe Henry and recorded at Full Sail Studios in Orlando, Florida. The co-founder of the trio, I'm With Her, continues her passion for collaboration on this album that includes guest appearances by Madison Cunningham and Allison Russell. Age of Apathy (Color Vinyl)

All By My Ownsome' is the first solo offering from Jackson Lynch. The album features five original songs by Jackson Lynch as well as traditional folk, blues and gospel songs in Lynch's distinctive style and arrangements. Born in Ireland, Jackson Lynch moved to New York City's East Village when he was young. Jackson is an integral part of the New Orleans music world with his band The Janks. He now resides in Red Hook, Brooklyn where he is also a vital part of the New York music scene. Jackson Lynch plays solo, with The Janks and with his string band The Down Hill Strugglers, hailed by Amanda Petrusich in the New Yorker as, "the very best interpreters of traditional material presently going."

Over 3 decades ago, Peter One was a STAR. A country music star, in West Africa. With his singing partner Jess Sah Bi, Peter played to sold out arenas. In 1985, Our Garden Needs Its Flowers, launched the two Ivory Coast musicians into regional stardom across greater West Africa. Now solo, Peter One ultimately decided to emigrate to the US to further his music career. Come Back to Me features songs in English, French and his native African language.�

With harmonies that seem to come from one astonishing voice, The Bowmans share a rare, near telepathic musical bond. Twin sisters Sarah and Claire Bowman are a "roller coaster" duo, ranging from poignantly captivating to serendipitously joyful. Their music is concurrently sophisticated and imaginative, blending together the preserved vulnerability and abandoned glee of their Iowa childhood. Their Fall 2021 release Scrutiny is introduced by the timely lead single and album opener "Digger."

Kirby Brown was born Texan, shaped in the foothills of the Ozarks, propelled by the frenetic energy of New York City, and currently at home in Nashville. As Kirby is himself a synthesis of varied influences in juxtaposition, his songs in kind are a marriage of poetic observation and simple conversation - serious and at times playful meditations on what's behind the veil of our seemingly plain human experiences. Brown's new full-length record, Break Into Blossom is introduced by the plaintive lead single, "Ashes and Leaves." "I know that, like a stained-glass window, my songs are both many things and one thing simultaneously - what you see depends on where you're standing," Kirby says.

Limited 180gm colored vinyl LP pressing. Kris Gruen writes songs about grownup life infused with a mystic wonder, softening the world's sharp edges like a glass of exceptionally fine bourbon. Kris grew up steeped in classic records. His Americana influenced new folk is grounded in the tradition of great narrative songwriters like Cat Stevens and Paul Simon and yet Kris's voice is strikingly current. A New York City native who's put down roots in Vermont, Kris effortlessly blends sagacious wit and emotional depth. Produced by longtime collaborator Charles Newman (Magnetic Fields, The Bones of J.R. Jones, Kate Vargas,) Welcome Farewell does more than evoke the white pine forests, stream beds, and family relationships that punctuate Gruen's existence in Vermont. "This record has a lot of honest writing and craft, and generous performances by some of my favorite players, with whom I feel so lucky to share creative spaces with," says Gruen. "Welcome Farewell was made before and during this enormously transformative time for all of us, and though much of the narrative is personal, it feels like it may be one of the most inclusive and inviting works I've put together so far."

Story has the power not only to entertain, but to shed light. Matt Wheeler invites you on a journey into story with 'Wonder of It All', a collection of songs based on classic works of literature - namely 'The Little Prince', 'Watership Down', 'The Horse & His Boy', 'The Hobbit', & 'Orthodoxy' - woven together by engaging audiobook-style narrative story pieces. The vinyl version of the album also features instrumental versions of all of the songs.

Sacramento songwriter Tr� Burt�s sophomore album, You, Yeah, You, is a narrated collection of songs featuring a cast of invented characters; heroes, villains, those destitute of salvation and those seeking it. This is Burt�s second release on Oh Boy Records, the label founded by the late John Prine who signed the songwriter in the fall of 2019. On You, Yeah, You, Burt teamed up with Brad Cook (Bon Iver, Waxahatchee, Nathaniel Rateliff) to create the album that reads like twelve rounds in a ring, summoning the will to fight the unknown rather than surrender to fear and fatigue. You, Yeah, You is a cohesive body of work that clearly illustrates the ever expanding space in which Tr� Burt�s voice belongs.

Limited edition green colored vinyl. A New Album Of Solo Guitar Works - Was Recorded By Graeme Gibson At Sholo Studio In Altadena, California (Aka Jeff's House) Over Two Days In June 2021. It Includes Interpretations Of Thelonious Monk's "Ugly Beauty" And The Standard "My Ideal," Plus Six Original Compositions Including "Four Folks," "La Jetée" (A Tune He Recorded With Tortoise In 1998), And Four Totally New Loop-Driven, Stratiform Works That Marry Melodic Improvisation With Electronic Textures.

Kacey Musgraves will be releasing a limited edition Zoetrope Picture Disc Vinyl in celebrating the 10th Anniversary of her debut Platinum and Grammy winning album- Same Trailer Different Park. The album went to #1 on the Country Album Charts when it was released in 2013. Kacey co-wrote all 12 tracks and co-produced the album with Luke Laird and Shane McAnally. Album won the Grammy award for the Best Country Album at the 56th Annual Grammy Awards. The album featured the break-out singles- �Merry Go Round�, �Blowin� Smoke�, and �Follow Your Arrow�.

This is the vinyl reissue of the second album by folk singer and original composer of 'If I Had Wings on my Song', Yoon Ji-Young. After having released his debut effort, Yoon turned to Oasis Records for his second album. This work was undertaken with the wholehearted backing of musical partner and legendary Korean folk singer/songwriter Kim Min-ki. This album is unique in that it features an unlikely pairing of the socially critical metaphors of Kim's earlier works against the lush instrumentation of the Oasis studio session musicians. The album, with it's arrangements incorporating chamber pop vibes as well as folk-rock elements, has a well-crafted quality to it that sets it apart from most gayo albums of it's time. Perhaps due to Kim's outspoken lyrics, only small promotional batches of this album were produced at the time of it's release. It soon faded into obscurity, going on to become a 'holy grail' rarity among collectors.

When John Wort Hannam started to write songs for his 8th album, 'Long Haul',he didn't have any particular theme in mind. Locked down in the early days ofthe pandemic, random ideas began to coalesce into a unified whole andeleven songs later, a solid vision had clearly emerged. With narratives thattrace small victories earned through faith, resilience and humour, the songs on'Long Haul' reach beyond our current sense of isolation to share a sense ofgratitude for what we have, and grief for what we have lost.Balancing personal and universal concerns, the songs on 'Long Haul' offerintimate reflections of everyday life and experience. "I've become morecomfortable writing about myself than I ever was in the past. Recently, I'verealized that the things that I go through are meaningful and that I don't need acrazy, drunken, bound for the jailhouse kind of life to write good songs."Recording during a global pandemic is not an easy proposition. Thankfully,John and his long time producer, Steve Dawson had formed a natural chemistry over the pair of records they had previously crafted together, and once theygot down to working remotely, and the thousands of miles separatingLethbridge, Alberta from Nashville seemed to disappear.Memorable performances from Dawson (guitar/strings) Gary Craig (drums),Jeremy Holmes (bass), Chris Gestrin (keyboards) and John Prine alumnus FatsKaplin (mandolin, fiddle, banjo and accordion) added a special chemistry tothe mix, resulting in the best sounding record of Hannam's career.'Long Haul' is a reflection on my life up to this point, and for the first time Ithink that my songs perfectly encapsulate the truth of where I'm at as an artistand a person. Life is short. Time is passing and I don't want to spend itwishing that things were any different than they are."Engagingly melodic, topical and enduring, 'Long Haul' is a career definingwork by an artist who has come into his own.

Vinyl LP pressing. 2020 album from the Nashville-based singer/songwriter.

Michael Hurley's first new�studio record in 12 years features eleven songs recorded in Astoria, Oregon during the brief time of year when the foxgloves bloom. Hurley had been workshopping the set at home for the past few years. Friends and collaborators came into town and contributed from afar. The songs are lifted by violin, organ, upright bass, banjo, percussion - but at the center, of course, is the enigmatic Snock, whose songs have grown only more unique and recognizable 57 years after his debut album (First Songs�- �Folkways, 1964). It could only be Snock. Heartbreaking, heartfelt, easy and carefree. The glorious opener �Are You Here For The Festival� � punctuated by a pair of violins � came to him while working in the garden. �Little Blue River� floats by on a cloud. The haunting �Jacob�s Ladder� sounds beamed in from another era. Or dimension.�Foxgloves�is as comforting and wonderful as any Hurley record that has come before it.�