Wovenhand is often a darkened, spiritual act and The Thresingfloor spices things up with a modest flair of Eastern elements and a thick production that shrouds the record in a sense of mystique. Add memorable hooks and melodies to the mix and the total package is a more than enjoyable ride.
A delightfully disturbing exercise in melodic mental-breakdowns and stream of consiousness. The RHCP guitarist freaks out over their commercial success by showing everyone that he is way to weird for that kind of thing. It sounds unhinged, loose and dangerous but actually makes so much sense.
The last release of sea-faring, folk-pop-bluesers Port O'Brien. Some of their best songwriting and by far cleanest production. The album has a concept and due consistency, and it really iterates on all the good stuff from earlier. Sadly though, no longer. At least they ended on a high note.
With a warm, fuzzy sound and eerie dissonance Maggie Bjorklund takes you on a estranging journey of warm country tunes and ice cold psychedelic folk. A mixture that comes across as very, very effective. Each track stands out, but the total picture is what makes this record. Embrace the freaky.
This dark goth/country/americana record from Nergal (Behemoth) is highly personal and comes from the soul. That's all well and good, but it doesn't make it very good nor memorable for the listener. This record is special because it's Nergal, not because it's good gothfolk. This is not his genre.
Creativity worth praising. This record outgrows genres as a whole, but keeps roots in negro-spirituals and black metal. Mix it up with whatever you can think of, and you get an amazing must-hear-this-mix of music that is not as coherent as an album could be, but none the less damn impressive!
All your favorite Anathema anthems redone in extra emo melancholy acoustic covers. You'd think the songs would miss the heavy impact, but the focus just shifted from decibels to emotions. Stunning.
This is what got me in to folk/americana. Essentially a double album with the Doel EP included. Expect eerie lo-fi folk with a ever so eery edge of psychedelics at it's borders. Heartfelt music and lyrics, performed with passion and care.
'Tallest Man'-esque lo-fi singer/songwriter folk. Nice, but interchangeable in the whole.
Proper seaman shanties in the minimalistic folk-roots lo-fi blues with a pure and authentic sound and feel. Songs bounce between jolly singalongs to more psychedelic mysterious ones. A lovely album to chant along with.
Get sleazy and get stoned, cuz it's time for a Dead Meadow record. While songs tend to be less memorable in writing than Old Growth, the sound these guys produce is so iconic to their style, that more of the same is always better. Kick back and let the light shine thru.
Wannes did it again, a wayward blues-pop-americana-folk record with a fragile sound and heavy heart. He sounds true, bare and personal.
On a more serious note, but still strangely uplifting comes this other EP with darkened folk, remnant of the melancholy heard on Agalloch's masterpiece 'The White'.
Two tracks of the 'new' Banhart, confirming a more poppy-sound in mellow production. Fortunately, it still manages to keep the Cripple Crow vibe alive, especially in the wonderful Loring Baker.
The Tallest Man On Earth has a band, and while it adds some much needed variety to his singer-songwriter blues, it also takes away from the personal and soul of the earlier records. Maybe this is another one trick pony gone their course.