On her new album, Fragile as Humans - written and recorded as her time living in the UK was coming to a close - Emily Barker turns her lyrical gaze inwards.

When Nathan Salsburg’s daughter was a baby, he often sang her to sleep in a rocking chair. At one point, he remembered a song he had taught himself as a teenager: “The Evidence” by Lungfish, the Maryland band who coined a singular brand of post-punk in the 90s and 00s. Salsburg realized he could play the guitar part with one hand, singing while holding Talya in his other arm. Though the original version of “The Evidence” is only five minutes long, it’s essentially a repetitive mantra, so Salsburg could extend it as long as he wanted–10 minutes, 20 minutes, even an hour. “It was therapeutic and calming and just lovely for me,” he says.

All copies of the March 2024 issue of Uncut come with a free, 15-track CD – Real Live Wire – that showcases the wealth of great new music on offer this month, from The Jesus And Mary Chain, Julia Holter and Phosphorescent to Rosali, Sam Lee and Dean McPhee. Now dive in…

When the pandemic began, and the world shut down, so did the process of creating for Iron and Wine’s Sam Beam. In its place was a domesticity that the singer hadn’t felt in a long time, and although it was filled with many rewards, making music was not one of them. Reflecting on that time, Beam notes:

Once again, Six Organs of Admittance showcases the intricate tangle of fingers on the fretboard and flash of lens flare slicing the air, as the future arcs 360 degrees around to become a part of the past as well. Oscillations in this glass bowl ripple outward eternally, but are rooted on the ground where all the creatures are moving and communing; humans too. An intimate cosmic expression, file under: rural-industrial psych, ecosystem goth.

Recorded at April Base studio and co-produced by Bon Iver drummer and acclaimed solo artist S. Carey, Pieta Brown’s lush new album, Freeway, is a delicate yet forceful reckoning with change that’s marked by the push and pull of unabashed intimacy and a slow-burning intensity. Brown cut the album with an all-star band that included Carey, bassist Mike Lewis (Bon Iver), and guitarist Jeremy Yivisaker (Andrew Bird), and the resulting recordings reflect the foursome’s seemingly telepathic bond, a deeply organic chemistry fueled by a shared passion for emotional exploration and sonic discovery. Released September 20, 2019 on Righteous Babe Records, Freeway is Brown’s most experimental collection to date, but it’s also her most confident and direct, an honest accounting of bittersweet endings and hopeful beginnings, of painful loss and traces of liberation in the aftermath, all captured here with a raw spontaneity and fierce self-assurance.