Like nature itself, Satomimagae’s Hanazono is by turns stormy and serene indie folk, as meditative as it is simmering with dormant, primal power.
Dan Knishkowy's alt-folk collective Adeline Hotel is whittled down to a party of one, with improvised acoustic guitar taking center stage on Good Timing.
Listening to Joshua Chuquimia Crampton is like watching a guitarist perform with a thought bubble over their head. 4 is landscape music, but in a way that draws power from the land rather than just evoking it.
Krautrock's Detlef Weinrich and folk's Emmanuelle Parrenin team up for Jours de Grave. It's damn near perfect. It feels too organic and alive to be called "avant-garde", even though it is.
With Girls Against God, avant-garde musician Jenny Hval gives us a semi-autobiographical text that, like the metalhead teen she describes, won't abide by any rules.
With Thread, Sally Anne Morgan shows that traditional folk music is not to be smothered in revivalist praise. It's simply there as a seed with which to plant new gardens.
Mare Berger's The Moon Is Always Full is a bold song cycle with classical underpinnings as well as an approachable, chamber pop sensibility.
Dream-folk's Clara Engel sets the stage with an opener on Hatching Under the Stars that's a masterclass in minimalist expansion.
The always inventive Cajun musician, Louis Michot, recalls a recent New York City residency with his latest recording, Le String Noise 2, a trip where the Big Apple and the Bayou meet.