Pulp’s We Love Life exists in the shadow of Different Class and This Is Hardcore, with no iconic singles. Yet it’s the Sheffield band’s most cohesive and heartfelt work, which has the distinction of being, well, a sort of folk album.
A peerless session musician looking to branch out on his own, Spencer Cullum mines his British-folk inspirations for a lush and lovely solo album.
Shirley Collins' Heart's Ease makes it apparent these songs do not belong to her as they are ownerless. Collins is the conveyor of their power while ensuring the music maintains cultural importance.
This Bandcamp-exclusive "dog's dinner" is better than Richard Dawson gives it credit for and features some of his best songs and guitar playing.
The sometimes Wilco and Richard Thompson sideman, in-demand producer, and songwriter, James Elkington, muses on why it's taking longer than he expects to achieve more in a week than most of us get done in a lifetime.
"Show Me Heaven" was another country. Maria McKee has moved to England, immersed herself in the Classics and turned away from the 21st century.
Shuttered inside our homes, contending with the COVID-19 outbreak, Nick Drake's third album promises rebirth and renewal: the pink moon is coming.
Mixing and matching elements of traditional (and non-traditional) folk, Frogbelly and Symphony deliver a track that defies expectations and boundaries with "Benjamin Went Fishing".
Norwegian-American Signe Marie Rustad gazes into the lights of Oslo and finds hope after a long streak of writer's block. The result: "In a Thousand Lights", premiered with this interview.
The inversion of British folk and the invention of British folk-rock is catalogued here in all of its stormy and delicate variety.
Praised by John Renbourn as "the future of folk music", John Smith continues to exemplify that with his LP, Hummingbird and the single, "The Time Has Come".