Elanor Moss's English Solitude
Good and evil sit in the same character, the same song, and — Moss suspects — the same person, a Catholic inheritance she hears throughout 'The Knife, The Needle.'
Good and evil sit in the same character, the same song, and — Moss suspects — the same person, a Catholic inheritance she hears throughout 'The Knife, The Needle.'
After 30 years of handing her records to producers, Veirs recorded 'Temple Songs' entirely alone, guided by wabi-sabi, the DIY ethos she took from Ani DiFranco, and a determination not to fall down perfectionism's rabbit hole.
Recorded in five days and sung in Gàidhlig and English, 'The Glorious Abysmal' draws on the waulking songs of the Hebrides, Georg Cantor's set theory, and the year Livingstone spent learning production alongside people leaving prison.
Raised in the Shenandoah Valley and jazz-trained at Berklee, Wellington discusses old-time repertoire, the constant calibration between dancing and playing, and the making of the solo album 'Her Bright Smile Haunts Me Still.'
Hen Ogledd's four members trace how a shared songwriting chaos, competing disciplines, and vocals in Welsh and Scots came together on their latest album, 'Discombobulated.'
England's south coast gives Golden Samphire Band's debut 'Dream Is the Driver' its emotional coloring, but behind it are four decades of shared record-digging by brothers Rich and Mik Hanscomb and the transformative arrival of vocalist Hannah Lewis.
The Constant Smiles frontman discusses how 'Moonflowers' represents his return to fingerpicked folk after years of pushing against the Martha's Vineyard sounds that shaped him, and why he finally has the patience and skill to honor influences like Nick Drake.
The Brooklyn duo has spent over a decade perfecting their brand of haunted vaudeville. Their latest album, 'The Double,' continues their exploration of the strange spaces between reality and dreams.