Few poets follow their own arrow as devotedly as Tim Easton, whose songwriting career has woven in and out of folk music and rock ‘n’ roll (and Americana before it was really called that), of erstwhile bands and solo songwriting, of his birthplace of America and all the other places he’s called home. Whether surviving as a busker in Paris and Prague, living and working on both US coasts, touring relentlessly through remote Alaska or recording with some of the most famous sidemen in rock history, Easton has followed his inspiration to every point on the map.

Inspired by the Buddhist sutras, Blitzen Trapper’s radiant new album, 100's of 1000's, Millions of Billions, offers a captivating take on rebirth and transcendence, navigating its way through the space beyond dreams and reality, beyond gods and mortals, beyond life and death. The songs here are as sincere as they are surreal, rooted in rich character studies and deep reflection, and the production is intoxicating to match, blending lo-fi intimacy and trippy psychedelia into a mesmerizing swirl of analog and electronic sounds. Add it all together and you’ve got a gorgeous collection of stripped-down bedroom folk wrapped in lush layers of synthesizers and washed out electric guitars, a poignant, expansive exploration of perception and purpose that manages to look both forwards and backwards all at once.

On Strange Medicine, acclaimed roots musician Kaia Kater succeeds in the act of transformation, alchemizing grief into joy, sorrow into hope.

Folk & Anchor is a collection of contemporary cover songs that have been meaningful to us over the years. As sisters, as a Southern folk band, as lovers of story-telling songs, neo-soul southern music, banjo melodies, Beyonce, Hozier, Bob Dylan and beyond, this new album celebrates our journey as eclectic music lovers. Our taste spans from the old time fiddle tunes of our family, to Hip-hop of our urban up-bringing in ATL , to the deep roots and traditional instruments of the American South. With this new album Folk and Anchor, we wanted to create a body of work where all those influences could be showcased under one roof while giving a nod to some of our heros. Each song has been carefully selected from a long list of favorites because they each tell a story in and of themselves. But more than that, they tell a story together, and that story weaves the listener into the sonic tapestries of the roots of Rising Appalachia.

The Avett Brothers return with their first album in five years. Produced by longtime collaborator, friend and early champion Rick Rubin, The Avett Brothers is as much untitled as it is self-titled, for as Thomas Keating said: “Silence is God’s first language – everything else is a poor translation.”

These days, every artist’s album needs to have a story. The music can’t speak for itself.

For her fourth album, Half Moon Rising, the North Yorkshire-born country singer-songwriter headed to San Diego for an eight day session, mostly recorded live, the magic evident from the get go with balladeering soaring opening track ‘Heart and Soul’, a straightforward supportive love song (“I’ve danced with your demons/Now I live with all these feelings/Only I can ever save you”), leading into the pedal steel keening ‘A Love Like That’, another ballad reflecting on a love of similar devotion (“My old friend where have you been/Still out there searching for someone/What I’d give for a love like that… My dreams have been and passed/Through the eyes of my child I live now”).

Mat Kearney's self-titled LP is the most honest and raw he's ever been. Described as "the soundtrack for a drive into mountains or a beach hang with friends," Kearney's growth as an artist is evident as this album sees him take on more of the production; writing and producing some songs solely on his own. His growth isn't limited to his solo production, it also lead him to collaborate in ways he hadn't done before. Having The Brook & The Bluff play on a handful of these songs, Mat said "it was the first time I felt like I was in a band." The overall vision for the album kept it simple. Real instruments and honest performances, similar to the early days of Kearney's career.

Ode & Ballade by Skye Consort & Emma Bjorling brings stories of medieval saints and sacred wells, fair maidens outsmarting presumptuous knights, beautiful or boisterous drinking songs, thieves meeting their fate, heartbreaking love songs, groovy dance tunes, and celebrations of the return of Spring. The album combines elements from world music and classical traditions to narrate poems, tales, legends, and sonnets from Sweden, Ireland, Scotland, France and more.

4 Blu-ray Set Featuring Remastered Hi-Res Stereo, Dolby Atmos mixes by Grammy® Award Winning producer Ken Caillat and Claus Trelby, and Quad Mixes of FOR THE ROSES (1972), COURT AND SPARK (1974), MILES OF AISLES (1974), and THE HISSING OF SUMMER LAWNS (1975). A brand new 2023 Quad Mix of FOR THE ROSES was done by Bruce Botnick.

For Camp Saint Helene, the concept of otherworldliness is neither strange nor complex, but alluring and holy. Created by Elizabeth Celeste Ibarra, Dylan Nowik, Wesley Harper and Alex Wernquest, they approach their craft akin to a ritual, leaning into the notion that art and expression are sacred experiences on an overstimulated planet. Often informed by the spirit of a defunct Christian-summer camp turned arts-colony deep within the mountains of New York, their music searches for shimmers of hope amidst hints of doom.

Just Like Leaving bears a powerful authenticity that prompted Rolling Stone to praise White's songwriting as "sublime Appalachian heartbreak." In sculpting the album's sparse but lushly detailed sound, White worked with a lineup of musicians she encountered through years of making the rounds at roots-music festivals, including Reed Stutz on mandolin/vocals; Julian Pinelli on fiddle/vocals, and Robert Alan Mackie on bass.

The bleak and foreboding landscape surrounding Keeley's North Yorkshire home seems to inhabit her third LP, 'The Hollow'. The moors, visible from her studio window, impact upon a music that feels made of these places: windswept, rain-soaked and blinking through the low-lit landscape. The album's title derives from discovering a long-abandoned mining shaft whilst out walking - the past lurking within and haunting the present we now occupy. A connection to time that places us within it, facing what is gone and what may come. But also, perhaps that time has no concern as to whether we're here or not.

On Parenthesis, I, Josienne Clarke has not only embraced her past but has also redefined herself in the present, presenting a body of work that is shimmering, warm, intimate, and at times, profoundly heart-wrenching. Throughout her career, Clarke has been both a Rough Trade-signed artist and a BBC Radio 2 Folk Award-winner, two opposing poles that neatly sum up her inability to be pigeonholed. Parenthesis, I is a masterful journey through her personal and musical evolution, drawing influence from folk greats Nick Drake and Sandy Denny, as well as more contemporary artists like Julia Jacklin, Courtney Marie Andrews, Anaïs Mitchell and Lucy Dacus.

Blending psych-tinged indie-pop with Appalachia-sourced folk music, Toronto sextet Beams have long been a unique voice among the Canadian indie rock scene. With their newly announced third album Requiem for a Planet, the outfit… dive[s] headfirst into the difficult experience of coming of age in a world that isn’t nearly as functional as the one we may have perceived growing up.