Archive for March 2nd, 2026


“Hypnagogic” is a word that refers to the unique space between sleeping and dreaming, and it’s not surprising that the term has been used to describe the music of Greg Jamie. Hailing from Portland, Maine, Jamie’s music is often an odd, woozy, and unsettling place, but his songs also contain warmth and comfort, as if he’s your guide through a dark place just before dawn. His debut album, Crazy Time, was a seductive, lo-fi gem, and the follow-up, Across a Violet Pasture, covers much of the same territory, but with a broader scope and greater ambition.
Jamie, who sings and plays guitar and synth, is joined primarily by Colby Nathan, who produced the album and also contributes bass, synth, guitar, and vocals (and was also a crucial….

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Two years on from the hedonistic rush of their debut, Eades return with a record that trades chaos for clarity.
On Final Sirens Call, their long-anticipated second album, they shed the last remnants of their scrappy post-punk adolescence and step firmly into a more refined, expansive sound – one steeped in Americana-tinged melancholy, mid-90s indie grit and the restless introspection of artists coming to terms with their place in a fractured world. Growth is placed front and centre, as the quintet dive ever deeper into their roots, finding rare solace amidst the shifting earth.
Following 2022’s Delusion Spree – an album that ricocheted through the anxious energies of early adulthood – and 2024’s Fight Or Flight

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One glance at the credits to Nashville by-way-of Canada guitarist Garret T. Willie’s second release, and any blues rocker who reads liner notes knows this is a worthy addition to the genre without hearing a note.
When you attract veteran talent like producer/drummer Tom Hambridge, along with the blessing of Gulf Coast label co-owner and blues star Mike Zito, and well-known backing musicians such as Audley Freed and Kevin McKendree, it’s clear this youngster has captured the attention of some of the most respected guys in the business. That’s an impressive feat for someone only on his second album, working in an arena with plenty of competition from players who have devoted many more years perfecting their craft.

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The lineage of Chicago blues slide guitarists runs from Elmore James to Hound Dog Taylor to J.B. Hutto to Lil’ Ed Williams. Williams’ career, at 49+ years, is the longest of any. Of course, many of you know that he learned his trade from “Uncle J.B” Hutto. Williams’ band, The Blues Imperials, has been together for an astounding 38 years, unheard of for a blues unit. Not only that, but they are the longest continual entity in the Alligator catalog. Other artists joined the label before 1986, but they had stints at other labels before returning to Alligator. Slideways is the band’s tenth album for the label.
Fan favorites at live shows and festivals, their followers have affectionately been dubbed “Ed Heads.” What separates the charismatic,…

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Few artists are as closely tied to the foundation of country music as Willie Nelson. Before the outlaw movement, before the braids and bandanas, Nelson was a Nashville songwriter absorbing the work of Hank Williams, Ernest Tubb, and Merle Travis.
Originally released in 2010 and produced by T Bone Burnett, Country Music is his direct salute to that lineage. It was his first album made entirely of country standards, a tribute to the songs that shaped him before he became a household name.
The current reissue from Craft Recordings and HighTone Records gives the album renewed focus. HighTone’s relaunch has centered on core Americana titles, and this record fits squarely within that tradition. Country Music opens with Nelson’s own 1959 single…

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…This anniversary release of the band’s first EP includes three additional tracks: remastered demos of “31 Seasons in the Minor Leagues,” previously titled as “Tonight I’m So Down,” and “Lonesome Valley,” recorded at Echo Park Studios in Indiana during the ‘Hard to Love a Man’ sessions, as well as “One Thin Dime,” recorded during the Black Ram sessions at Sound of Music Recording Studios in Richmond, Virginia.
Let’s begin at the end, with the cover of Warren Zevon’s “Werewolves of London” that closes Magnolia Electric Co.‘s Hard to Love a Man EP. Mike “Slo-Mo” Brenner’s always elegant guitar work makes it clear that the song is probably a barnstormer live, probably saved for the first encore so that the band can cut loose…

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Album release dates are usually arbitrary, utilitarian business decisions, devoid of any tangible meaning. But once in a great while, an artist releases an album on or near a date that dovetails perfectly with the album’s theme. Such is the case with Keegan McInroe’s eighth solo album Neon John, which was released on Friday, February 13th. Juxtapose that superstitiously unlucky date with the next day, which just happens to be Valentine’s Day, and you have the dominant theme of the album-love sought, love found (or not), love lost, wrapped in a musical salve that feels light-heartedly melancholy yet somehow comforting.
The album opens with the line “Looking for love in all the wrong windows” sung in the familiar melody of Johnny Lee’s ‘Looking for Love’…

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UNHINGED is Sophie Gault’s third album after Delusions of Grandeur (2022) and 2024’s Baltic Street Hotel. The title comes from her own view of herself: “I’m unhinged and a little bit crazy”, and this gives some idea of the energy of the record. It is rather traditional female-fronted country-rock, but done with such verve and brightness that it really wins you over and puts a smile on your face. And it doesn’t do any harm that Gault has a great country voice.
She has written five of the ten tracks here, but the first track is a rollicking Buck Owens cover, ‘Love’s Gonna Live Here’, with slide guitar and country licks, that improves on the original. This staple of her live set is a great start to the record. Following is ‘Pocket Change’, with a bit of a twang in…

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A blurry Facebook clip posted by salsa enthusiast Jesús Rojas in December of 2023 captures Venezuelan orchestra El Gran Grupo celebrating their 44th anniversary. Three years later the band is still doing what they love most: Playing salsa.
Born in the neighborhood of Petare — one of the largest shanty towns in Latin America — El Gran Grupo began as a sextet called Los Tigres del Ritmo. Dressed in vests and Oxford pants, rocking afros and thick mustaches, they looked a bit like a rock band. But instead of electric guitars, they wielded congas, güiro, and claves. Though they played mostly local gigs, the group caught the attention of well respected composer Orlando Briceño, who already had at least one record out as a salsa bandleader. Briceño saw…

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Some albums become special through repeated listening: they grow on you, opening up over time to reveal more complex layers and hidden depths. Some are special because they represent a certain memorable point in the listener’s life: a graduation, a wedding, a death. Some are simply great from the word go, world-changing works of artistic genius. But very few come sprinkled with the kind of magic dust that coats the new album by Georgia Shackleton. This is an album with a story behind it, and that story is worth telling because it directly impacts the music. A distant relative of polar explorer Ernest Shackleton, Georgia recently came into possession of the Shackleton Violin, an instrument made from the floorboards of Ernest’s former home in Edinburgh.

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Catrin Finch has been at the top her field for a long time now. The Welsh harpist was appointed to the ancient office of Royal Harpist by Prince Charles in 2000, was nominated for a Classical Brit Award in 2004 and her World Music collaborations with Seckou Keita resulted in their winning the 2019 BBC Radio 2 Folk Award for Best Duo.
After her three acclaimed albums with Keita, she released the striking Double You with Irish fiddler and classical violinist Aoife Ni Bhrian in 2023. And now, striking out with her first solo album in a decade, she turns to her self – in fact, to her 13-year-old self – in this beautiful set of pieces accompanied by short pieces of prose in the form of letters to herself, and archive family photos that focus on the young Katrin, and…

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Ben Vince plays his saxophone like a man with one foot in another dimension. His tone is searching, mystical, molten; his penchant for looping and layering evokes blurry shapes emerging from a thick mist. No stave could contain him: Even the sweetest tone might peel off into a harried bleat. If the wind instrument’s magic is to turn breath into seemingly solid form, Vince is just as likely to wrest a stray note as it passes across his reed and dissolve it back into air.
On his early records, the London musician made do with saxophone alone, looping and layering his instrument into billowing expressions of foghorn melancholy. He cut a profoundly romantic figure: One imagined him out wandering the heath, half shrouded in fog, braving…

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