Jason Isbell and the 400 Unit – Weathervanes

When god-tier novelist Cormac McCarthy died recently, Isbell tweeted something along the lines of how he could stand up there at his next concert, announce that the next song was influenced by Cormac McCarthy, and then literally play anything he’s ever written. If his eighth solo album Weathervanes has a literary muse though it’s surely Denis Johnson (circa Jesus’ Son) with its recurring themes of relationships changing over time and having to battle through long after the drama is over. And it’s Isbell so it’s typically remarkable. Thirteen finely crafted tunes with lyrics that’ll just knock you out. There’s a conscious Drive-By Truckers influence on a few tracks as he throws it back to the old days. There’s a tribute to his estranged buddy the late great Justin Townes Earle which is astonishing (When We Were Close). Vestavia Hills. King of Oklahoma. Strawberry Woman. Save The World. Isbell never misses but this is up there with the best stuff he’s ever done.

Pickle Darling - Laundromat

Lo-fi pop tunes from down south (Christchurch to be specific). This is the third album from Lukas Mayo’s Pickle Darling moniker and if the world is just and fair then this’ll be the one that makes the name ‘Pickle Darling’ a household name in Aotearoa. The album sounds superb. Simple in its structure but decadent in its tones. Lead singles Head Terrarium and Invercargill Angel earn that distinction with their wonderful catchiness - they’re also the two longest songs here with 9/12 tracks coming in under two minutes. Again, simplicity is key. Songs don’t go longer than they need to and they’re generally written about pretty mundane topics, amplifying those everyday moments (like picking up the laundry). Beneath its electronic instruments/production and some weaved voice memos there’s an avowed influence of older folk musicianship (Connie Converse, Bill Fay & Vashti Bunyan all get shout outs in the press release – of a more recent vintage Sufjan Stevens feels like another crossover). It’s a truly beautiful work. Don’t skip it.

The Alchemist - Flying High

Slow mo hip-hop doesn't come any better than The Alchemist supplying production and his homies offering poetry. Al's latest project 'Flying High' offers a light and breezy sound, full of soul samples that guide the listener through elite features. Those features come in pairs for each song with Earl Sweatshirt, Billy Woods, T.F, Boldy James, Mike, Sideshow, Larry June and Jay Worthy offering their insightful tales. Sometimes aligned with the general vibe such as Earl's verse on RIP Tracy and sometimes they are juxtaposed against Al's production. Either way it's a pleasure to listen to.

Jess Williamson – Time Ain’t Accidental

Born in Texas and based in Los Angeles, Jess Williamson’s work represents both of those places with country tinged indie tunes which have always worn their spiritual nature on their sleeves. Previous album titles have included Sorceress and Cosmic Wink so you get the idea. This new one goes for it with the pop choruses although always with that cool reserve, that wistful wisdom, that... that cosmic wink, so to speak. The performances are as bold as anything Williamson’s done yet. The songs are gorgeous. It’s a bit like if Margo Price did the soundtrack to a Wim Wenders road movie. Time Ain’t Accidental, Chasing Spirits, Topanga Two Step, and Stempede are standouts. Really digging this one.

Tom Lark – Brave Star

Smooth tunes from Aotearoa’s Tom Lark, a debut full length effort coming several years after his most recent EP (having focussed on his other alter ego Shannon Matthew Vanya in recent times). This is gentle indie folk with vaguely trippy aesthetics and an admitted early solo John Lennon influence in there too. A couple of the songs (Softserve most of all) aim for the other realms but Brave Star is at its best when it nestles into that grounded campfire vibe such as on the title track or the Kurt Vile-esque Live Wires. It’s a sweet collection that’ll lift you out of the depths of a chilly New Zealand winter. Effortlessly breezy.

Anna St Louis – In The Air

Rarely is the disparity between the Northern Hemisphere summer and the Southern Hemisphere winter felt more starkly than in the musical release calendar. All these beautiful glowing folk albums that sound like rays of sunshine through the window in the warm morning… but then the album ends and it’s cold and wet and miserable again. Ah but while they last those records are incredible aural transporters and this latest from Anna St Louis is just wonderful. Her second album after 2018’s If Only There Was A River and it’s every bit as good. Bathed in natural imagery, full of contemplative rustic goodness. This new one is brighter than her last album, particularly in the instrumentation, dipping very much into 1970s folk rock territory on a few tunes... as well as some country-soul adjacent touches. Got to love a tasteful pedal steel. ASL’s voice wanders sweetly on the breeze. If the winter cold’s been getting you down then here’s an instant cure.

Wye Oak – Every Day Like The Last

There’s a lot going on here. This seventh album collection from the Baltimore indie rockers gathers up six singles released over the last five years plus three new tracks to fill things out. As a result it covers all sorts of territory for what was already a versatile band whose sound spans the distance from Nine Inch Nails to Weyes Blood to Low and beyond. It’s the slower moments that are the finest, songs like I Learned It From You and the country-tinged TNT... although can’t lie it’s pretty mean when they crank it up too.

Cory Hanson – Western Cum

Lead man of the excellent California psych band Wand, Cory Hanson has had a fascinating solo side-career. His first album was a weirdo folk effort, his next was a Neil Young adjacent banger (70s Neil too, the best stuff) and it was one of the finest albums of 2021. His third is called Western Cum (for some reason) and it’s a shredder. Electric guitars turned up in a variety of ways. Persuasion Architect even kicks off with a metal riff, although most of these tunes are of the Crazy Horse variety of guitar chonk. Only a few hints of the sun-drenched weariness of the last record even if those moments are among the sharpest. All eight songs go hard. Ghost Ship and Housefly especially. Wand fans already know that Hanson can shred and under any circumstances the bloke can write a wicked tune. Here we go again, get at it.

Bob Dylan – Shadow Kingdom

A new album from the legend himself? Eh, sort of. Shadow Kingdom is the soundtrack to a concert stream that he did during the pandemic when his neverending tour had to take an ironic pause. The concert was pre-recorded, shot in delicious black and white, with the songs all rearranged classics from the man’s inimitable oeuvre. Almost all of them from the 60s and early 70s although he does chuck in What Was It You Wanted from 1989’s Oh Mercy as well. The arrangements are nice and rustic with harmonica and accordion and upright bass all prominent. Dylan’s voice was in fine form. Some of the tunes work better than others in this context, Queen Jane Approximately and Just Like Tom Thumb’s Blues are incredible however a couple others just don’t really work. But it’s a joy to hear Bobby in this mode the whole way through.

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