Back catalogue:

Review: Nathan Salsburg's new project, Hear the Children Sing the Evidence, began as a lullaby ritual for his daughter Talya, where he sang Lungfish's 'The Evidence' to soothe her. This inspired Salsburg to collaborate with Bonnie 'Prince' Billy (Will Oldham) and Tyler Trotter on an album of Lungfish covers. The result is a collection that highlights the timeless power of Lungfish's music. Recorded live without full rehearsals, the album captures a spontaneous and intimate interaction between musicians. 'Hear the Children Sing features delicate guitars, Oldham's malleable voice, Trotter's steady drumbeat, and Zak Riles' banjo. The drum-less 'The Evidence' creates an instant trance with Salsburg's acoustic guitar loop and Rhodes keyboard harmonising with Oldham's vocals. The extended versions reveal the depth of Daniel Higgs' lyrics, with each listen uncovering new meanings. The inclusion of Oldham's daughter Poppy and Salsburg's daughter Talya adds a personal touch, blending mystical songs for adults with lullabies for children. This heartfelt project enriches listeners with profound words and ideas, making it a timeless and meaningful collection that bridges generations through music.

Review: The Nathan Bowles Trio's Are Possible is a dynamic blend of styles, featuring banjo, upright bass, and drums. Nathan Bowles, along with double-bassist Casey Toll (known for his work with Jake Xerxes Fussell and Mt. Moriah) and drummer Rex McMurry (from CAVE), collaborate seamlessly, crafting an expansive and groove-laden musical blend. Nathan's explorations on the banjo span various techniquesifrom clawhammer boogie to strummed and percussive stylesimelding traditional Appalachian roots with experimental minimal drone. This trio's evolution since their last album, 2018's Plainly Mistaken, reflects years of individual growth and collective synergy despite periods of social musical isolation. Each track evolves organically from jam sessions enriched by diverse influences. Rex's rhythmic innovations, Casey's foundational basslines, and Nathan's eclectic compositions blend effortlessly, exploring realms from transcendental sounds to new country funk and folk-rock. Recorded at Steve Albini's Electrical Audio in Chicago but under Cooper Crain's guidance, the album resonates with meticulous production that enhances its sonic richness and depth.

Review: For all her otherworldly talents, even hardcore fans of Joanna Newsom will likely be relieved to hear that 'Divers' marks a very slight move back from the artistic brink compared to 2010's 'Have One On Me', an exhausting triple-album embarrassment of riches which few ever made it though in one go. Yet there's no hint of compromise on the deliriously thrilling 'Divers', despite its slightly more concise approach - the elegant yet baroque wordplay, ornate and innovative arrangements and Newsom's unique voice are all present and correct - yet more, these emotive and engaging ditties may mark the most accessible thing this iconoclastic and mercurial artist has thus far summoned from the ether.

Review: Celebrating the 50th anniversary of If You Love Me, Let Me Know, Olivia Newton-John's third North American album, this stunning picture disc vinyl pays homage to the iconic cover and features a limited-edition numbered sticker unique to each copy. Originally released in 1974, this beloved collection has tracks from her earlier international albums and marks her first Billboard 200 chart-topping success. The album includes standout hits like 'I Honestly Love You', 'Let Me Be There' and the title track, 'If You Love Me, Let Me Know'. With production from John Farrar and contributions from Bruce Welch, the album maintains a polished sound. Songs like the introspective 'Changes' and the captivating rendition of Brian Wilson's 'God Only Knows' add depth, while 'You Ain't Got the Right' offers a catchy country-pop vibe that highlights Newton-John's vocal prowess. Ultimately, If You Love Me, Let Me Know is a testament to Olivia's ability to bridge country and pop, making it a significant entry in her discography. Its mix of heartfelt ballads and lively tracks ensures it remains a timeless favourite.

Review: This reissue of Janitor of Lunacy recaptures Nico in a stark, spellbinding 1983 live performance at Manchester's Library Theatre during a period when she called the city home. Spread across 20 tracks on double vinyl, the album distils her haunting presence and singular voice into raw, intimate recordings that draw from four of her solo records as well as Velvet Underground classics like 'Femme Fatale' and 'All Tomorrow's Parties.' The set also includes a brooding take on Bowie's 'Heroes' which is, like the rest of the pieces, minimalist and emotionally charged. This was Nico stripped down to her essence, namely bleak, beautiful and moving.

Review: Nico's Marble Index was the first album to establish the German musician's home in the avant-garde; the story of the fashion model turned "legitimate" artist is as old as time, yet is rarely told today. In contrast to her first album, Chelsea Girl, which consisted almost entirely of pop chansons, Nico's sophomore LP here tracks nicely with her working introduction to John Cale in his harmonium era, drawing inspiration primarily from modern European classical music, not three-minute hookcraft. Long out of print, this slow-burner of a critical classic now hears a worthy reissue via Domino.

Review: As part of a new looking back on German art rocker Nico's esteemed career by the indie label Domino, Desertshore chronologically follows The Marble Index, and is her third album, following the prior project's establishing her as an avant-garde artist with one foot in the mainstream, in stark defiance of the the prejudiced poo-poohs that followed her first (baroque pop) album, Chelsea Girl. Desertshore is more of a reconciliation of her prior two projects, bringing back the initial western pop sensibility while now firmly basking in a newfound weirdness-and-she-knows-it. From the opening dark waves of 'Janitor Of Lunacy' to the piano-balladic injection of sadness that is 'Afraid', this is another avant-garde masterpiece by the musician, never justifiably passed over.

Review: What you see before you ranks among the most mythologised live albums (n)ever released. Like the title suggests, it was originally recorded in 1972 at Parisian rock institution Le Bataclan, a legendary venue which would later gain notoriety after a group of armed gunmen opened fire on a crowd in 2015, killing 90 people. But that grisly recent history belies its status as one of the most respected concert halls in the French capital, and this not-quite-Velvet Underground show has contributed to that legacy. Showcasing the stop-you-dead qualities of Nico's staggering (and unique) vocal timbre, the surreal, immersive qualities of the Cale and Reed's legendary art-rock tones, this time capsule had been bootlegged and bootlegged until 2004, when it finally got an official release. Now it's back.