Saturday, September 24, 2016

New Music 2016 - Part 50 - Billie Marten - Writing of Blues and Yellows

Many have been hailing Billie Marten for some time now and with good reason I might add, based on a few EPs and her live performances. On the other hand I think that this can put unrealistic pressure of expectation for a debut LP on the shoulders of the artist in question. All the indications are that at least in this case it hasn't.
I listened to this start-to-finish three times yesterday evening and, as well as not having tired of it and eventually I got tired myself, instead.

Billie Marten - Writing of Blues and Yellows (Victor/RCA, 2016).

What I have concluded is that it is the perfect record to spend an early autumn weekend at home with.
  • La Lune
  • Bird
  • Lionhearted
  • Emily
  • Milk & Honey
  • Green
  • Heavy Weather
  • Unaware
  • Hello Sunshine
  • Live
  • Teeth
  • Untitled
  • It's a Fine Day
It's far from easy to chose any clear favourites, which is a good sign too. The penultimate track, over six minutes long and with it's non-committed moniker, is rather interesting to my mind.

Tuesday, September 20, 2016

New Music 2016 - Part 49 - Lady Maisery - Cycle

'Cycle' is released on 28 October 2016 and the third LP from English folk-harmony trio Lady Maisery that comprises Hannah James (piano accordion and foot percussion), Hazel Askew (bells, concertina, harp) and Rowan Rheingans (banjo, fiddle). The first was 'Weave and Spin' in 2011. This is all the more remarkable because all three members are also members of at least one other active group, but that is how folk tends to work.
Lady Maisery records and performs songs and ballads, both old and modern. The name actually derives from an old Anglo-Scottish ballad Lady Maisry (it is Child Ballad 65) and it appears in a new guise on second LP Mayday (2013). The traditional variations are many and varied but in all cases the outcome is always far from happy.

The upcoming release will be tremendous musically but to be quite honest I want it on vinyl just for the art nouveau cover alone! It also a cycle of the seasons, which is very appropriate as we head into Autumn because it is in the middle.



Lady Maisery - Cycle (Rootbeat Records, 28 October 2016).

  • Sing for the Morning
  • Quiet Joys of Brotherhood
  • Honest Work
  • Season I - The Sun Returns
  • Bagpipers/Sheila's 70
  • A Father's Lullaby
  • Season II - Beautiful Leaves
  • So Far
  • Diggers' Song
  • Eostre
  • Order & Chaos
  • Land on the Shore
When people try to tell me that things were all far better in some unspecified former time then I'm inclined to treat that with dose of perspective reality. I think that, at least in some ways, music has become more accessible than before. One sense in which that is particularly true is that genres have broken barriers in a way that the old hegemony worked to, if possibly not deliberately so, stifle.

Monday, September 19, 2016

New Music 2016 - Part 48 - Seth Lakeman - Ballads Of The Broken Few

This is not perhaps what you might have expected Seth Lakeman to do next. All I can say is that I am mighty glad that he did. I did wonder if his focus on music about or from the South West of England might have run it's course. Well now we don't know, at least for now.
Seth and his band toured the UK in 2015 with Devon trio Wildwood Kin, whose own music is acoustic Americana folk with much UK influence, as his primary supporting act. This is the musical development of that.

Seth Lakeman featuring Wildwood Kin - Ballads Of The Broken Few (Cooking Vinyl, 16 September 2016).

This is certainly no lash-up. The two acts seem to have bought the very best out of each other - that is Seth Lakeman was tempted into Appalachian territory and Wildwood Kin self-deployed in three-part-harmony heaven on nine of the eleven tracks. So who might buy into this vision? 
Ethan Johns produced the record, much of it was recorded as live takes, and that says a great deal. There is a single cover song - and a surprising one - for it is 'Anna Lee'. Written by Laurelyn Dossett it first appeared on Levon Helm's 2007 album 'Dirt Farmer'.



Ballad Of The Broken Few - live at Torre Abbey, Devon.
Some of the other videos were recorded in the rather ramshackle parts of Poltimore House in East Devon. As well as all that Wildwood Kin is recording its own début album but that's for another post...

Sunday, September 18, 2016

New Music 2016 - Part 47 - Gitta de Ridder - Feathers

Feathers is the debut LP by Gitter de Ridder - now London-based but hailing from the Netherlands and between which she regularly commutes.


Gitta de Ridder - Feathers (Little Memories Records, 21 September 2016).

Following her earlier live performances and the Come Find Me EP (2015), which largely showcased finger-picked guitar and delicately sung, self-penned songs relating themes close to the artist comes a ten-track full length record that also includes her (almost entirely acoustic) four-piece band. If you have a burning need to file it in some pigeon-hole then modern folk will suffice, at least for now.
I'd rather leave it on a pile of things that are to be played on rotation.


This is a live version of 'Stay A Little Longer', recorded in London in May 2016.

I hesitate to say it but this could easily meet or indeed surpass that which I hoped a few fairly recent albums might have achieved if only (what I imagine to be) interference with the artists' intentions had not intervened at some stage or other. We shall see.

Wednesday, September 14, 2016

New Music 2016 - Part 46 - three doses of garage rock

I feel like a change from narrating my thoughts on festivals and because I haven't written a post on new music for what seems like an age (it's about four weeks in truth) and I mentioned female-fronted garage rock in relation to Seratones at End of The Road Festival 2016 so this is about that sort of thing.

The first  is the only one of the three albums released as of today but all three are by bands that I have seen live.

The band's latest LP is 'Get Gone' (Fat Possum Records, 6 May 2016).

Released tomorrow is this from the Californian duo of Lindsey Troy and Julie Edwards. It is their second full-length release following 'Sistrionix' (2013) and a change of label.

Deap Vally - Femejism (Cooking Vinyl, 16 September 2016).

Towards the end of the year Scottish duo Stina Tweedale and Cat Myers pitch in with their own second album. The first, released in 2014, was self-titled.

Honeyblood - Babes Never Die (FatCat Records, 4 November 2016). Vinyl, CD and d/l.


Babes Never Die - Honeyblood
  • Babes Never Die
  • Ready For The Magic
  • Sea Hearts
  • Love Is a Disease
  • Walking at Midnight
  • Justine, Misery Queen
  • Hey, Stellar
  • Cruel
  • Gangs

I imagine all the smallish people had a lot of fun playing the parts in this!


Three bands (two from the US and one from the UK) released on three different independent record labels (one from the US and two from the UK). Track listings, more details and live pictures to follow soon.

Monday, September 12, 2016

End Of The Road Festival - Part 2 - The Woods Stage

Two three-day music festivals in quick succession, as I recently attended, do two things. The minor one concerns sleep patterns. That is no revelation, it lasts just a few days and is basically tiredness compounded by a lack of routine.  The less obviously explicable one, and it doesn't kick in for about a week, is that it totally messes with all idea of what recorded music I wish to listen to.

This doesn't particularly predispose it towards or away from artists that I heard live; rather it induces some kind of restive state that requires me to jump from one artist or genre to another. This is handy in some ways as it helps with listening to new releases as well as old things. Streaming services are a boon here with almost limitless instant access to all kinds of music at the standard monthly charge. Equally likely however is that I will dive into my collection of vinyl and CDs for something that I had long forgotten (but was reminded about by hook or by crook) or something by an artist that I have just heard.
In some cases it is actually that I want to play it for real - from a physical thing - simply because I can and that is illustrated perfectly by this, an artist who certainly wasn't one of the stand-out acts when originally announced, unless one happened to know otherwise for she was then only about to release her début album. All credit to the EOTR team for this.

Margo Price, Woods stage, Friday afternoon.

That LP is Midwest Farmer's Daughter (Third Man Records, 2016). I'm making no secret that it will be up there amongst my albums of 2016. Now it is mid-September it is time to start thinking about such things and not least because there are so many to consider (some of which may not yet have even been released)!

One thing that I certainly have is a very poor record of watching main-stage headline acts at festivals. In that regard I was really rather diligent at EOTR 2016. There is a specific reason for that, at least in part. The genesis of this blog is inextricably linked with the Saturday headline act at End Of The Road and that is Bat For Lashes. To find that, ten years later, I am writing this today... well what happened there?
Before Saturday evening came around several people whose thoughts and integrity I very much respect had said that they were surprised that Bat For Lashes had been chosen to headline the main Woods stage when Ezra Furman was playing the Garden stage. Luckily I had at least seen a that potential clash coming and headed it off at the pass by catching Ezra Furman play at Green Man a fortnight earlier. One thing I could reliably inform them that he was absolutely on-fire then. I was told a couple of hours later, when we reconvened in the Tipi tent, that he still was.
So was Natasha Khan.
Bat For Lashes, Woods stage, Saturday evening, End Of The Road Festival 2016.
There is another thing about all of this. It is not at all uncommon to that I come across an act that quite unknown or not blows me away playing live. I'm pleased to report that it has happened a number of times this summer. What is truly rare is an artist and song (both absolutely new to me) that do that simultaneously. It happened at Green Man 2016.

A topic of discussion in recent times is that, taken together, festivals apparently favour male artists over female ones and especially near the top of the bill, on any given stage. End Of The Road has certainly never been this way and this year only served to underline that.  I just mention this because having written and included pictures of seven EOTR 2016 acts, so far, all of them female fronted. Is that therefore an indication that I am guilty of sexism in my photography?

[post in progress - to be continued soon]

Saturday, September 10, 2016

End Of The Road Festival 2016 - Part 1 - The Tipi Stage

End Of The Road Festival may not have the physical rigours associated with the sheer size and the mud to be found at Glastonbury but it is without doubt, if one is to take full advantage of what is on offer, the most mentally demanding of festivals that I have been to. This was my eighth EOTR, so I know what to expect, but that doesn't actually make it less challenging.
In some ways it is akin to a residential course in that, as well as the supplied live content 12 noon - 02:15 daily and that
included watching thirty-nine live sets in eighty hours, there is the interaction with fellow attendees to be considered. It is wise to assume that they know what they are talking about and will expect you to do likewise.
This is not a weekend break with some music included; it is far more intense than Green Man and yet I can't quite imagine exactly how this has come to be the case. It is certainly a festival that artists enjoy playing because they know that they really are being listened to. In general terms both festivals focus on a similar part of the musical spectrum - indeed there is some artist overlap each year - and this can be used to advantage in order to minimise clashes at any given one, if attending both.

On rare occasions it is an excuse to see the same act twice in quick succession, as I chose to do here.

Mothers, Tipi stage, Friday evening.


It was inevitable that I would spend a great deal of time at the Tipi stage. I was always thus and so this post will focus only on, but not all of, what I saw there last weekend. Some of this comes from the late night/early morning surprise shows. Some of it comes from the convenient truth that when it started to sheet with rain early Saturday afternoon I was already comfortably ensconced right in front of the Tipi stage. I decided to stay there and as a result I saw a couple of artists that I might have missed otherwise. Greta Kline's band and de facto alter ego Frankie Cosmos is one of them.


Frankie Cosmos, Tipi stage, Saturday afternoon.

Great off-kilter pop with electro-twists from, but not entirely typical of, New York. The recently released album, the band's second, is 'Next Thing' (Bayonet Records, 2016).
Nobody that I found could recollect another lilac guitar although surely it must have happened? This one is a Danelectro model.

Let's jump back two generations, relative to the above.
For many years Kath Bloom has very rarely played solo shows outside of her home state of Connecticut. EOTR 2016 was treated to one such and that was not something I was planning to miss.


Kath Bloom, Tipi stage, Sunday afternoon.

As far as I am concerned two of the best grabs on the Tipi stage are bands that I had earlier failed to see on larger stages as a result of the inevitable timetable clashes. This is every bit as off-kilter and genre-disregarding, though rather tending towards rock, as Frankie Cosmos. Weaves hails from Toronto, Canada. Indeed EOTR 2016 featured rather a lot of Canadian artists.

Jasmyn Burke of Weaves, Tipi stage,  2:08am Saturday.

The last of the group of five is another band that I failed to see on Friday on Saturday afternoon on The Woods stage (the main one).  It was raining cats-and-dogs then but rain aside this is a band much better suited to a night-time slot. Seratones, from Shreveport, Louisiana is difficult to categorise exactly - a very good thing I might add -  but certainly garage rock isn't too far adrift here and it is absolutely wonderful live. The band says that it formed because there was simply nothing else to do. If so than good-luck-to-us because début LP 'Get Gone' (Fat Possum Records, 2016) was a splendid use of time.

A.J. Haynes of Seratones, Tipi stage, in the early hours of Sunday morning.

Wednesday, August 31, 2016

A brief hiatus in posts...

Please bear with me because there will be a short hiatus here... it will last until the beginning of the coming week but with it should come rewards, or at least I hope so. In the meantime here a a few more memories from Green Man 2016.  Two acts that call Devon home:


Sam Green and The Midnight Heist, Chai Wallah stage, Friday evening, Green Man 2016.


Ardyn, Walled Garden stage, early Saturday afternoon, Green Man 2016.

The reason for this hiatus is End Of The Road Fesival 2016. This is a picture of a band that is performing there but one that I took at Green Man 2016. 

From Athens, Georgia, this is Mothers. Walled Garden stage, Friday afternoon.
Mothers is a four-piece band; this is Kristine Leschper and Drew Kirby thereof.

It takes a determined attitude to entitle your début LP 'When You Walk A Long Distance You Are Tired'.

Monday, August 29, 2016

Green Man :: 2016 :: Dyn Gwyrdd - Part 4 - five more acts; all are new to me live.

In three days time I shall be at End Of The Road 2016, so I had better get on with this! Here are five more acts from Green Man 2016 that I had never before seen play live. I have mentioned already that I really rate the Walled Garden stage and particularly in its new configuration. Three of these artists played that stage but I shall start and finish with the ones that played the smaller Green Man Rising stage.

Opening the Green Man Rising stage on Sunday was London's Paradisia, performing as a six-piece formed around the core of Anna (harp), Sophie-Rose (vocals) and Kristy (keyboard and vocals), and much influenced by Bruce Springsteen.


Their set included, as well as their own material, a cover of 'Dancing in the Dark'.

Now we shall head over to the Walled Garden stage on Friday afternoon to catch an artist who quite deliberately doesn't rock.
Trevor Sensor from Illinois just rambles.

It was a shame in so many ways that he played to such a small audience. It was easy to detect the vibe of the audience that was there however. It was like being a guest at a private performance and therefore a highlight of the day or indeed of the festival; totally captivating.



Trevor Sensor, Walled Garden stage, Friday afternoon.
Texas Girls and Jesus Christ EP (Jagjaguwar Records, 2016).

This is the Walled Garden stage on a Saturday afternoon of fleeting sunshine and blustery showers. She commented that it would be regarded as a fine day where she comes from and the flattery worked for the sun shone, albeit briefly, on this performance.

Emma Pollock, Walled Garden stage, Saturday afternoon.


The Magnetic North started as a one-off project with an album of the same name about the Orkney Islands. It could have ended there but in 2016 a second LP was revealed and it had one of the most unlikely titles in recent history: Prospect of Skelmersdale - and yes they really can pull these songs off live  - and the patter was just as good too.
Tracks from both LPs were included, and explained.



The Magnetic North, Walled Garden stage, Saturday evening.


What is less than obvious is that, lurking in the background, there is a string section - violin and cello.


To finish this post we return to the Green Man Rising stage on Saturday afternoon and the artist known as Bryde; the solo project of Sarah Howells who was one half of Paper Aeroplanes. This, however, does not sound anything like Paper Aeroplanes. It is rather more forceful and that might be an understatement.

Sunday, August 28, 2016

Dyn Gwrydd :: 2016 :: Green Man Part 3 - new to me live...

This post is going to feature five acts, all of which I have never seen live before, and all but one of them played live on Sunday.
The one that didn't played on Friday and is the artist that, when announced for Green Man 2016, I most wanted to see live and resulted in me committing to buying a ticket there and then. I could have been disappointed but, as I rather suspected, the exact opposite was true.

Jason Isbell and The 400 Unit, Mountain stage, Friday evening.

The fact remains that were he not performing I would have decided to go to Green Man anyway and still had a great time. Two of the other artists I was well aware of, as regards their recorded music, so that leaves two more; one of which I was faintly aware of and the other not at all. This is exactly why I like to focus on the small stages and the opening artists on any stage at festivals.


Opening the Mountain stage on Sunday was Margaret Glaspy. I have been listening to her recent LP 'Emotions and Math'. I like it a lot but I didn't anticipate quite how she would translate it to live performance. I think that a great many of the others there in the drizzle felt much the same way too. This was yet another live show that it would have been a tragedy to have missed.

Headlining the Walled Garden stage on Sunday evening was an artist from the Netherlands. She plays End Of The Road Festival 2016 too.


Amber Arcades is the performance name of Annelotte de Graaf. The LP is Fading Lines.

Late Sunday afternoon I availed myself of the tented darkness of the Far Out stage to see a band from Canada with whose music I am well acquainted but had never previously had the opportunity to see play live. Its core is Jace Lasek and Olga Goreas and heavy psychedelic rock is what they do but it not necessarily all of the gloomy kind...

The Besnard Lakes:  husband and wife dualling on 12-string guitar and bass in a smoky haze.

Then this, an artist that I had never heard about until I perused the artist list in the programme on Thursday afternoon. Janileigh Cohen from Bolton has the five-song 'As a Child EP' to sell. That might not appear to be much of a pitch but sometimes you just can't tell...

 Green Man Rising stage, early Sunday afternoon, and a very rare standing-ovation from a seated audience.

Saturday, August 27, 2016

Green Man :: 2016 :: Dyn Gwrydd - Part 2 - acts seen live before

Time to get on with the music that I went to see and hear. Where better to start than a band whose career playing festivals almost exactly matches in time that of going to them myself? The correlation goes further - from Latitude 2007 to Green Man 2016, via No Direction Home 2012 and others, it always rains when I see Sheffield's Slow Club play. They have come a long way since first I saw Charles and Rebecca on the 'BBC Introducing stage' at Latitude Festival back in 2008. It involved wooden chairs and empty bottles as percussion. I will have to go back in time and find some pictures of that...


"You look so colourful in your cagoules". Rebecca's comment was true Yorkshire wit.

This post, I've just decided, is going to cover artists and acts that I have seen live at a festival at least once before. This is, I think, the fifth time that I have seen Slow Club play a full set at a festival. That's not a record, in fact it is not even close.

This next band is something of a nightmare to categorise: alt/indie country-rock but (with the exception of a judicious cover in their set this time) all sung in Welsh. This was the only picture that I managed to take that included all six members of the band!


Cowbois Rhos Botwnnog, Walled Garden stage, late Sunday afternoon.

Rhos Botwnnog is a village in the Llŷn peninsular, North Wales from which the band hails. I guess you can translate cowbois yourself. This is only the second time I have seen the band live; the first was also at the ill-fated No Direction Home Festival in 2012.

Thursday aside when it was almost the only place anything was happening, my forays into the vast tented gloom of the Far Out stage were then limited to Sunday. Of all those only one falls into the category of artists that I have seen live before. That is this one and it was a tremendous set. I first saw him play the Tipi stage on the Thursday evening at End Of The Road Festival 2014 and I wrote about that here.

Ezra Furman, Far Out stage, Sunday evening.

All these artists have new releases in tow, which they wish to promote and of course that is just how it should be. That is also true of this next, a four-piece from California that I saw live at End Of The Road Festival 2013.  Rather than focus on the front line this time I took this for it is the rhythm section that keeps the whole show on the rails.  Warpaint was first support on the Mountain stage on Sunday evening, which Belle and Sebastian headlined.

Stella Mozgawa, Warpaint, Mountain stage, 21 August 2016.

Friday, August 26, 2016

Green Man :: 2016 :: Dyn Gwyrdd - A quick site tour.

I week ago that's where I was, in the heart of the Brecon Beacons, so I guess it is about time for some words and pictures about that. I still haven't got any real idea about how to group the artists that I saw and heard into posts.  I'll just start with something else and see whether that leads me to some kind of logistical inspiration.
That somewhere might best be a picture of the (main) 'Mountain stage' taken from a distance and under a glowering sky on Sunday afternoon. For the record the artist playing here is Julia Holter, to whom I shall return somewhat later.

It is true that the weather was less than perfect much of the time but that did nothing of significance to detract from the overall experience. Having started with a scene of the site maybe I should continue the theme for now.

The smallest of the four dedicated music stages is the 'Green Man Rising stage', which principally showcases new, up-and-coming acts.
Here it is viewed from across the pond. I had just returned from seeing Paradisia play there and was on my way back to the Mountain stage. This was Sunday lunchtime and the weather was playing nice at that point.
The Green Man, after which the festival is titled, is a large mythical figure of a different design each year, that is burned just after Sunday midnight. This is this year's incarnation.
Indeterminate weather on Saturday afternoon.

The big blue tent is the 'Far Out stage', the only dedicated music stage that is fully undercover and with a capacity of several thousand standing. Whilst the setting of the Mountain stage is arguably only rivalled by the Garden stage at End of The Road Festival, my pick of the bunch at Green Man is the Walled Garden stage and here it is.

Friday midday. The band is Welsh three-piece Plu.
Not only is it intimate and characterful but it has some of the most interesting artists, at least for my money, gracing it.

The layout at this stage (and indeed elsewhere throughout the festival site) has been much enhanced since last year, which was also rather wet. It's not possible to engineer the weather but it is certainly possible to mitigate the worst of its effects. Another change in the Walled Garden stage is this.

The bar has moved to the back of the garden and changed radically. Now, as well as a handful of beers and the usual other drinks, it hosts an array of thirty draught ciders all brewed in Wales. The seventy draught beers remain for sale in the Courtyard Bar, which is just a minute or two walk away. The result was that both bars were far less overcrowded.

Next I shall turn my attention to some of the music. That is after all what I was there for.

Saturday, August 13, 2016

New Music 2016 - Part 45 - Lady Nade - Hard To Forget

When you are at a little gig and you hear something that seems too important to ignore...  I am glad to say I have been in that situation plenty of times. Some of those artists are now well known, some are not. There seems to be little rhyme or reason concerning which fall into one category or the other.

Any which way, this is one such; Bristol artist Nadine Gingell whom I first saw play live here in Frome, Somerset way back in 2011. This is her first full length release.

Lady Nade - Hard To Forget (Kitchen Sink Records/Lady Nade, 12 August 2016).

  • Hard to Forget
  • Waiting for You
  • Mind's Made Up
  • Those Late Nights
  • Don't Make Him Wait
  • I Got You Daddy
  • Complicated
  • Kiss This Troubled Mind
  • 6AM
  • Get You on My Own
The genre floats effortlessly between acoustic soul, pop and folk and that's not remotely a problem. The lyrics raise the bar and then the voice that sings them nails it.
That's what made me take notice back then. In that sense alone the title of the album is absolutely spot-on too.

Mind's Made Up

Tuesday, August 09, 2016

A festival road trip...

I have had ideas about this, as the time comes near for two three-day festivals in quick succession. On Monday I read an interesting, albeit statistically flimsy (only 504 interviewees, for one thing) article on the BBC website.
I'm not one of those polled and not least because I have never bought a ticket via Eventbrite. I could argue with a few other 'facts' too. There are  actually many hundreds of UK festivals - the figure mentioned is probably just that for which Eventbrite handles ticketing and therefore has data.
Nevertheless, although I would not self-identify as a 'super-fan' (their description but maybe there is a ring of truth) I do share several of the traîts highlighted: I am male and I quite happily attend festivals alone. I am also inclined to rail against the tendency of festivals to become more 'corporate', that is dependent on brand sponsorship.
One thing I certainly do not do is spend my money on is luxury camping. My basic tent is there for just one reason - shelter whilst sleeping - and its contents therefore only what I regard as vital and can therefore be bothered to carry from the car park to the camp site. The car acts as a repository for everything else, should it be needed.
Another point that I will mention is that attending a festival solo does not in any way correlate with loneliness. I find that the opposite is true and think about that when I observe groups of friends that spend most of the festival in the campsite. Each to their own; if you attend alone but are gregarious then there is only one option - and that is engaging with strangers. 


I admit that the prospect was scary the first time but on arrival (at Latitude 2007) the matter was almost immediately rendered void. In a queue with lots of strangers, waiting at the wristband exchange, the obvious thing to do is that you talk to one another. It happened again, but in a rather different way, a few weeks ago at Truck Festival 2016. I was there, with not a care in my own little world, but in front of me was a group of teenagers at their first ever festival: totally stressed and already arguing with each other, about nothing remotely important, before they had even got to the ticket exchange.
"What's the problem?" A short silence... and then every one of them was suddenly talking (to me) all at once. There was no real problem except that, even as a group, they felt adrift in an alien environment.
Once at a festival it is another world - I got back from Truck Festival still entirely unaware of the coup attempt in Turkey.

Before I head off to South Wales in ten days time here are a few things that, while not necessarily at all relevant to where I am headed, would form part of my virtual road trip. The first has been released but the other two have not, which is a slight snag I guess. I'll see what I can find as regards track releases from the forthcoming records.


Amy Goddard - Secret Garden (self released, 18 April 2016).

This is from the album launch...


The Maiden's Leap -  recorded live, 22 April 2016.


Amanda Shires - My Piece of Land (BMG Music licensing, 16 September 2016).
Here is the track 'Harmless' from the forthcoming LP.


This next is somewhat tricky, for I have listened to the album throughout several times already. I'll just have to see what I can come up with...
M. Lockwood Porter - How To Dream Again (Black Mesa Records, 16 September 2016).


... from How To Dream Again, this is 'Charleston'.


Continuing the theme of dreams, this is already released. Haley Bonar is a Canadian artist who is long resident in Minnesota.

Haley Bonar - Impossible Dream (Memphis Industries, 5 August 2016).


'Kismet Kill'.