Browsing Tag

Orchestral Folk

Folk Rock Prisms and Spiritual Ardour: Forest Mountain Lion Illuminates with I’ll Meet You There

Posted on 25 July 2025

With Forest Mountain Lion’s latest standout single, I’ll Meet You There, you’re swept into a vision of folk where vibrancy isn’t just painted in muted shades, it blazes through with the full palette of passion. Every rhythmic stroke pulses with vitality; there’s no mistaking the authenticity that radiates within the panoramic vignette of how connections mean more than sanctified promises. In these lyrics, bonds transform into all-consuming manifestations of longing and ardour that can only ever be half-concealed.

Forest Mountain Lion’s melodic fingerprint taps into the veins of Deep Blue Something and Semisonic, only to shed that familiar skin as the orchestrally laced refrains burrow deeper into the psyche. I’ll Meet You There never lingers on bitterness; instead, it moves in picturesque prisms with stridently sweet vocals shining over lyrics that capture the sacredness of shared moments. Jacob Sellars brings backbone with his bass, while Courtney Renea’s harmonies add spectral warmth; together, they extend the reach of Forest’s animist folk rock and push it beyond traditional borders.

With roots in Eugene, Oregon, Forest’s music is both an act of resistance and a celebration of community, inspired by his love of the land and commitment to resilience. These are songs built for open skies and honest company; it’s music that doesn’t just reflect a world but dares to reshape it.

I’ll Meet You There is now available on all major streaming platforms; support the artist by purchasing the track on Bandcamp. While you’re there, you may as well purchase the full Love and Other Acts of Subversion, which was officially released on July 25th.

Review by Amelia Vandergast

Sketches of Carol Sang The Candlelight Chorus of Strangers in ‘People I Don’t Know’

Posted on 4 July 2025

With People I Don’t Know, vocalist and composer Sketches of Carol gave voice to the unspoken communion between strangers bound by shared mourning, drawing from a day suspended between pub banter and candlelit sorrow. From this liminal space, the London-based artist cast her artfully arcane spell, unravelling a two-part composition that aches with reverence for the brief flickers of connection that outshine even grief.

Lyrically, she refuses to take anything at face value. She prises poetry from what hovers on the periphery and folds it into looped vocal lines that mesmerise without ever succumbing to overindulgence. The harmonies spiral with harmonic hypnotism until only the diaphanous falsettos and lush reverb remain. Then, the silence breathes. And in that quiet, the quasi-baroque grandeur floods in on the swell of Stephanie Tress’ cello.

Unlike her improvisational debut EP Messengers, this composition finds definition through its structure without losing the ephemeral quality that distinguishes her voice in the indie landscape. Written in one intimate session and layered with a devotion to preserving emotional clarity, People I Don’t Know reflects Sylvia Schmidt’s instinctive songwriting. She honours the fleeting nature of empathy without letting it slip into sentimentality.

As the chaos of hyperconnectivity continues to erode the value of genuine exchange, Sketches of Carol restores its worth with a track steeped in compassion. It doesn’t sermonise. It simply reminds you to feel.

People I Don’t Know is now available to stream on all major platforms. Find your preferred way to listen via the artist’s official website.

Review by Amelia Vandergast

Ami Leigh Rewrites Mythology with Audial Intuition in the Ethereal Folk Reworking ‘Lily From the Valley’

Posted on 5 June 2025

Ami Leigh’s reworking of Lily From the Valley caresses neo-classic folk naturalism with German mythology and a sense of audial sensuality that nestles into your atoms as you follow the lightness of the progressions as they pivot and pirouette through the ethereal dream of the release. It plays with metaphysical lore while keeping the rhythms primal enough to press all the right emotive pulses.

Every time Ami Leigh comes back around, we know to expect the unexpected, we know her chameleonic charm knows no bounds, but the power of the purity within Lily From the Valley almost demands paralysis, a moment of silence to pay respect to the otherworldly beguile of the simple yet soul-jerkingly beautiful single.

The roots of the track stretch back to its original incarnation as a spoken word piece inspired by Jack Jones of Trampolene. Under the production of Neil Gibson, the focus shifted from poetic narration to sonic immersion. The final piece radiates symbolism, referencing the Virgin Goddess Ostara and the Christian tale of Eve’s sorrow blooming into a poisonous flower whose sweet scent masks a fatal sting. Leigh’s lyrical allusion to beauty-turned-venom brings a haunting duality that lingers long after the reverb decays.

From BBC North live sessions to chart-topping international radio recognition, Ami Leigh continues to prove her instinct as a producer and performer. Lily From the Valley doesn’t strive for grandeur. It simply exists with such stark beauty and integrity that it becomes impossible to ignore.

Lily From the Valley is now available to stream on all major platforms. For the full experience, visit YouTube.

Review by Amelia Vandergast

Spencer Graham Soundtracked the Sanctity of Synergy in the Americana Folk Revelation, ‘Worth the Wait’

Posted on 13 May 2025

Worth the Wait by Spencer Graham preaches the gospel that patience is a virtue and the superficial pull of instant gratification is a vice, especially when it comes to love. As the folksy indie Americana arrangement carries its timeless timbres, Graham uses the urgency within his vocal lines to express that it isn’t only his sonic signature that has perpetual appeal. He viscerally attests that when true love finds you, it won’t lead to endless bliss; there’s a bittersweetness within the connection, one that resounds with just how much rests upon the resonance of the synergy.

The folk strings bring an upbeat energy to the production as the percussion keeps the rhythm grounded like the beat of a heart that knows contentment, not complacency. The dual harmonies between Graham and Megan McGarry provide a complete narrative, one that will leave you believing in love as a divine intervention. The twangy orchestral serenade is a complete revelation through the reverence of love and all the scars it leaves behind, even as love still breathes

Graham’s journey has never been one of rushing. The warmth in his sincerity is no accident; it is the product of faith, endurance, and an unshakeable foundation built by family, friends, and quiet conviction as he ventured from small-town open mics in Central Pennsylvania to the gig circuit in Charleston, clocking in songwriting hours while navigating naval service and college life,

Worth the Wait is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast.

Baz Edmondson Bridges Nature and Nostalgia in ‘Ladybird Red’

Posted on 16 February 2025

When the digital haze clears and the static of modernity subsides, Baz Edmondson’s latest single, Ladybird Red, stands as a reminder of the wonder that still exists beyond screens. The Dorset-based singer-songwriter, whose evocative sound places him in the lineage of artists like Damien Rice and Ben Howard, melds folk, classical, rock, and cinematic composition into a spellbinding indie-folk ballad that carries the weight of traditional storytelling artistry.

Filtered through neo-classical grandeur, the delicate folky intimacy of Ladybird Red is juxtaposed with its sweeping crescendos, creating a sonic experience that feels as though it materialised in the very moment inspiration first sparked. The instrumentation—where intricate guitars meet elegantly restrained piano and soaring string sections—moves with an organic force, grounding the song in nature’s rhythms while lifting the listener into a cinematic reverie as Edmondson’s vocal performance shifts between vulnerability and sheer power, mirroring the ebb and flow of emotion embedded within his poetic lyricism.

In an era when connections are fraying, Ladybird Red stitches them back together with its seamless interweaving of naturalistic awe and romanticism. It’s a song that pulls you outside of insular introspection, urging you to breathe in something real. The anticipation for Edmondson’s debut EP, set for release later this month, only grows stronger with every note of this latest release.

Ladybird Red is now available to stream on all major platforms. Find your preferred way to listen via the artist’s website.

Review by Amelia Vandergast

Folk meets prog-punk in Whate’s orchestrally cinematic composition By Torchietto

Posted on 18 November 2024

Where fire meets finesse, whate’s composition ‘By Torchietto’ ignites a fervent blaze that’s set to endure. At its core, the UK-based progressive alt-punk outfit harnesses a storm of eclectic influences, melding the raw energy of punk with the intricate layers of orchestral folk and progressive music. From the stings of violins reminiscent of classical giants like Hans Zimmer and Ennio Morricone to riotous chords, the band’s standout single, ‘By Torchietto’, is an incendiary declaration.

Founded in Italy by Dave Dreamer—lead singer, guitarist, composer, and violinist—whate crafts sound-transcending spectacles. With each member’s diverse background, ranging from blues to prog rock, the band forges a style baptised as “progressive punk”. This sophisticated, new sound is a cocktail of revolutionary ideas, blending Dreamer’s love for classical with punk’s unapologetic rebellion.

‘By Torchietto’ itself is a profound alchemy, balancing tender orchestration against striking, fiery energy, pulling listeners into a cinematic sweep of emotion and rhythm. Much like the rest of the artist’s discography, the single embodies the band’s unflinchingly urgent cry for societal transformation and personal awakening, all while demonstrating their ability to channel their inner tumult into a coherent call to action.

whate’s trajectory, from their debut ‘Can’t Breathe Anymore’ to their current partnership with Rexius Records, signifies a band soaring on their own terms. With ‘By Torchietto’, whate stands poised on a pedestal of their own crafting, unlikely to ever cascade from the pinnacle they’ve reached.

By Torchietto was officially released on November 8^th and is now available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast

Somewhere In Between – Mr & Mrs: An Orchestral Indie Folk Tale of Amour for the Ages

Posted on 2 September 2024

Somewhere In Between, the soul-embracing union of Deena Robertson and Austin Bisnow is so much more than a new alt-indie folk act on the scene; the duo is a profound testament to love’s resilience.

Their debut single Mr & Mrs, taken from their double A-Side which also includes the single Wildflower, unfurls as an artfully orchestral folk narrative, resonating with emotional depths through dual-layered harmonies. The intimate glimpse into a romance that has battled odds as daunting as cancer and triumphed with a story sung through their very being reaches the epitome of heart-rending.

The single channels the delicate nuances of Thom Yorke’s artful signatures, the diaphanous echoes of Tom Odell, and the undeniable chemistry reminiscent of Glen Hansard and Marketa Irglova. It’s an ornately ethereal vignette of romanticism so vivid, it might just redefine your understanding of love, illustrating that true affection demands patience, compassion, and understanding.

Their journey began when Austin first heard Deena singing in Sanskrit during a hot yoga class in LA, leading to an inseparable bond forged at a retreat in Utah. Challenges soon followed, notably Deena’s cancer battle, compelling them to immortalise their vows in song with the aid of Grammy Award-winning artist Ry-X. Today, their Quebec barn-turned-studio is not just a place of creation but a sanctuary where their lives and art intertwine.

For those jaded by Hollywood’s glossy depictions of love, Mr & Mrs offers a real, raw, and profoundly authentic alternative. Hit play, and let the seraphic sentimentality carry you to where love reigns supreme, unscripted and unequivocally honest.

Mr & Mrs is now available to stream on Spotify.

Review by Amelia Vandergast

Igloo Hearts exhibited a new installation of art-folk in their ornately rendered vignette, Watering Can

Posted on 27 February 2024

Igloo Hearts’ latest offering, ‘Watering Can‘, is a masterful blend of folk sensibilities with a touch of baroque elegance. This single, emerging from the heart of Wrexham, positions the married duo as a folk force to be reckoned with while echoing the artistry of legends like Tori Amos, Kate Bush, and Mitski.

Katie Macgregor’s soprano vocals are the centrefold of the art-folk piece. Her haunting and ethereal timbres, cascade over the keys, enveloping the listener in a cocoon of timeless yet contemporary flair. The emotion conveyed through her performance is palpable, resonating with a depth that speaks to the soul.

Watering Can is an arresting showcase of their captivating sound, marked by classical piano, mesmerising chord progressions, and flawless harmonies, influenced by Jesca Hoop, Radiohead, and Kate Bush. The duo’s refined musicianship has earned them recognition as runners-up in the Purbeck Folk Rising Competition and Radio Wigwam’s Awards along with numerous BBC Introducing radio plays. Their live performances, held at esteemed venues like the Liverpool Philharmonic and Llangollen International Eisteddfod have received critical praise from across the board.

As they continue to gain acclaim, including an upcoming feature on the Channel 4 series ‘The Piano’, any self-respecting folk fan will want Igloo Hearts on their radar.

Watering Can was officially released on February 16. Stream the single on all major platforms via this link.

Review by Amelia Vandergast

Lounna orchestrated the sound of spring into her indie-folk Americana release, Peak Season

Posted on 16 February 2024

Lounna orchestrated the sound of spring into her latest indie-folk reverie, Peak Season; a single that resonates with the soul’s longing for renewal and connection.

The Pittsburgh-based multi-instrumentalist, drawing inspiration from the likes of Bear’s Den and First Aid Kit, infused her latest single, taken from her Garden for Winter LP, with a unique blend of indie, folk, Americana and naturalism, and signalled her departure from her more whimsical approach to songwriting from her debut. By delving into more profound themes of mental health, resilience, and hope. The single is a harmonious amalgamation of lyrical depth and orchestral richness, with crystalline vocal harmonies commanding the ensemble with an effortless grace.

The track opens with a melodic embrace that gently uplifts the listener, symbolising the shedding of winter’s weariness. Lounna’s voice, soothing yet potent, weaves through the instrumentation with a narrative that echoes candour and resounds through universal relatability.

The orchestral backdrop, carefully crafted with Slate’s collaborator Daniel Blake, adds a panoramic dimension to the song, allowing each instrument to converse and complement the vocals, rather than overpower them. Peak Season allows you to stand at the shores of your own introspection while washing over you as a cathartic release from the clutches of life’s darker moments. It’s a sublime feat of originality and expression, that has left us with bated breath to see what’s to come from Lounna.

Stream Peak Season from February 16^th on Bandcamp.

Review by Amelia Vandergast

Nick Cody rearranged a loveless world through the folk strings in his cover of Nick Cave’s Nobody’s Baby Now

Posted on 14 February 2024

https://on.soundcloud.com/99fhH

If you thought Nick Cave’s rendition of Nobody’s Baby Now from his 1994 album, Let Love In, hit hard, brace yourself for the evocative impact when delving into the bitter-sweet folk reimagining by Nick Cody featuring Towse, Harry Orme, Corwin Zekley.

Atop the Bob Dylan-esque instrumentals, the harmonised to-the-nines vocal arrangement pulls at the heartstrings with devastating precision. Though the lyrics have always been tragic in their forlorn romanticism when depicting a woman living a loveless life, Cody innovatively found a way, through the beguile within orchestral folk crescendos, to impart even more empathy for the female protagonist.

It takes an exceptionally talented artist to find more room for resonance within an already hauntingly captivating single. Clearly, Nick Cody can consider himself amongst the few sonic visionaries with the ability to breathe new painfully provocative life into already stunning scores – even though his humbleness, evidenced in this reworking, would never allow such an ego to show in his work.

Nobody’s Baby Now will debut on Valentine’s Day; stream the single on SoundCloud and wait for the LP, which is scheduled to drop on April 26.

Review by Amelia Vandergast

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