{"title":"Folk","description":"\u003cp\u003eFolk vinyl rooted in tradition, storytelling and quiet resistance. Our collection spans pastoral classics, global folk traditions and contemporary voices reshaping the genre. From sparse ballads to experimental acoustics, this is music that listens as much as it speaks—intimate, reflective and always grounded in something real.\u003c\/p\u003e","products":[{"product_id":"blessings","title":"Blessings","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eHollow Coves, The Brisbane folk duo--Ryan Henderson and Matt Carins--carry light within an eloquent, engaging, and entrancing take on indie folk, as evidenced by the five songs that comprise their EP Blessings. The majority of the songs on Blessings were written during the Covid-19 lockdown and recorded and self-produced at the band's newly built home studio on Australia's Gold Coast.\u003c\/p\u003e\u003cp\u003eHollow Coves' music, including \"Blessings\" from this EP, has been used in over one million TikTok videos, charted in the Top 20 for Most Used on Instagram Reels, and garnered over 200 million views on YouTube. As a result, the band has been streamed over one billion times across DSPs and grown a dedicated global audience which has translated to their touring across continents. 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Collectively, they feel like a lifetime of repression, suddenly liberated.\u003cbr\u003e\u003cbr\u003eCentral to Lily's narratives is the idea that others will probably relate to, or benefit from, her pain. Humbled yet highly melodic, the facetiously named Pain \u0026amp; More is an emotionally tactile album that confronts the many incarnations of the prolonged, persistent depression that has shrouded Lily's life for decades. It may be her third full-length, but it's her defining moment -- a vivid, if sometimes uncomfortable, whirl of the angst and hope.\u003c\/p\u003e\u003cp\u003eLily released her debut album Midnight In The Garden in 2013, featuring break-out single \"As It Seems.\" The album scored millions of streams and critical acclaim, and in the following years she landed multiple syncs on shows like Criminal Minds, Grey's Anatomy, Finding Carter, Ted Lasso and more. 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Five years on, their astonishing second album ‘Nothing Will Grow In The Soil’ arrives: exploring the role these ancient, strange trees occupy in our culture, spirituality and imaginations. 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The musical backdrop, meanwhile, is smooth and supple, all pulsing toms, warm keys, gently-plucked guitar notes and hushed background vocals – an intentional juxtaposition. “I like the idea of having a seductive surface where the listener gets sucked in by a fairly pleasant melody,” Thompson explains. “But then, there are hidden sharks in the water.”\u003c\/p\u003e\u003cp\u003eif you’re looking for some of that patented Thompson guitar dazzle? Look pretty much anywhere on Ship To Shore. But maybe linger just a bit on “Maybe,” a sharp, snappy ditty that sees our protagonist losing his mind over the girl of his dreams... or nightmares. 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Inspired by this new setting, Baker expanded Cinder Well's sound to include percussion, provided by her old friend Phillip Rogers (Haley Heynderickx), as well as trance electric guitar and expansive string parts courtesy of Cormac MacDiarmada (Lankum). The doom folk and traditional Irish influences of 'No Summer' are still present but often give way to a more optimistic and relaxed atmosphere that nods to LA's mythical Laurel Canyon years. Across nine epic tracks, Baker treads a sonic and lyrical path between the two coastal towns she calls home, her transcendental voice given new wings by the record's sweeping arrangements. \"Overgrown\" is the first major key Cinder Well song in nearly a decade while the uneasy and pulsating title track is a love letter to the self for our darkest days. Fittingly, Baker opens \u003ci\u003eCadence\u003c\/i\u003e with a song about selkies - seals that turn human on land. 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It was recorded at Mwnci Studios, in a quiet valley in Southwest Wales, during four days in August 2018, just a month before the band’s songwriter David Morris left the UK for a 9 month meditation retreat at a remote Buddhist monastery on the cliffs of Cape Breton, Nova Scotia. By the time the band reached the studios, the imminent hiatus lent a poignant and celebratory atmosphere to the sessions. The compositions had not been fully formed prior to recording, but any pressure was transmuted into invigoration, resulting in the jubilant energy that adorns even the most turbulent songs. This expansiveness bears testament to the skill of long-term collaborator and guide Jimmy Robertson (Michael Chapman), who engineered and mixed the songs. 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Known from her work with longtime Pacific Northwest string band, The Onlies, and as a member of Willie Watson's band, here Braman celebrates the fiddle with a playful journey over the course of ten tracks that draws upon traditions from Appalachia to Ireland, Cape Breton to Norway, and beyond. Aptly named for the myriad fiddling styles Braman nimbly rivets together, 'Riveter' pulses with an old-time groove throughout and Braman's sheer joy in playing her instrument rolls off it all in waves. Within a musical tradition where fully original works are the exception, Braman sets herself apart and her compositional chops are undeniable. Listening to \"Train in the Wilderness\" one can almost glimpse a steam train just as it rounds a bend somewhere deep in the Appalachian Mountains, while \"Rogue River'' evokes the image of surging whitewater carving its way through a lush Pacific Northwest forest. Yet 'Riveter' is not your ordinary old-time fare: Across the record Braman experiments with unconventional fiddling textures and rhythms that anything less than a virtuoso would fall short of pulling off. She excels in these moments, and in doing so, pushes us to imagine what traditionally-inspired folk music can be.\u003c\/p\u003e","brand":"Padiddle Records","offers":[{"title":"CD","offer_id":50383946678603,"sku":"2015551","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/test_546a81e8_thumbnail_4096.jpg?v=1726279995"},{"product_id":"50-1","title":"50","description":"\u003cp\u003eAfter five decades of recording and touring, veteran British songwriter and guitar sage Michael Chapman has finally made what he calls his \"American record,\" and the aptly titled 50 now stands as his late career masterwork, a moving legacy statement by a legend. Backed by a collaborative group of friends and acolytes - Steve Gunn (who also produced), Nathan Bowles (Pelt, Black Twig Pickers), James Elkington (Jeff Tweedy, Richard Thompson), Jason Meagher (No-Neck Blues Band), Jimy SeiTang (Rhyton), and fellow UK songwriting luminary Bridget St John - Chapman tears into both bold renderings of new songs and radical reinterpretations of material from his revered catalog, the crack band adeptly scaling the same rarefied sonic heights of classic Harvest albums like \u003ci\u003eFully Qualified Survivor\u003c\/i\u003e, guided by a true survivor's instinct, wit, and wisdom. The result is a sublime chiaroscuro self-portrait, more shadow than light, as an invigorated Chapman wrestles with weighty themes of t ravel, memory, mortality, and redemption, his world-weary whispers assuming the incandescent power of prophecy. 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That he manages to do so without succumbing to nostalgia or sentimentality bears testament to the steely fortitude of his ruminative, tough-minded songs, which survey both inscape and landscape with the same stoical detachment. With 50, Chapman faces mortality with both guitar and chainsaw in hand, and endures. 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Joining him on this introspective journey is a cast of old friends and new disciples: once again Steve Gunn produces and plays guitar, and fellow UK song writing hero Bridget St John sings, collaborating with cellist Sarah Smout and legendary pedal steel player BJ Cole, who has accompanied everyone from John Cale to Scott Walker, Elton John to Terry Allen, Felt to Björk.\u003c\/p\u003e\u003cp\u003eWhereas \u003ci\u003e50\u003c\/i\u003e featured two new songs among radical reinterpretations of material from Chapman’s deep catalogue, \u003ci\u003eTrue North\u003c\/i\u003e includes twice as many new numbers among its quiver of eleven arrows - \u003ci\u003eIt’s Too Late, Eleuthera\u003c\/i\u003e, the fiery \u003ci\u003eBluesman\u003c\/i\u003e, and slow-rolling album centre piece \u003ci\u003eTruck Song \u003c\/i\u003e- confirming the exultant return of Chapman the songwriter. 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Each track a chapter of the book, hypnotic folk pieces mixed with ambient field recordings that Warren and Greg collected around the beaches, cliffs and gardens of the island. They brought everything together at home, organically forming this beautiful ambient folk tale during the island's idyllic summer evenings. After finishing the initial mixes on the island they brought the tapes up to Scotland and overdubbed with Strings, Oboe and Flute. 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It ends with Olympia, standing at the shore maybe, among these myth-haunted songs, a reference to the ancient Greek sacred site, or, considering the artist narrator of the title track, to Édouard Manet’s revolutionary 1863 painting of a defiant sex worker. Across its suite of smoky nocturnes, Imitation of War finds Los Angeles-based songwriter, singer, and guitarist Kayla Cohen continually embracing the tangled ambiguities of its evocative title, with its suggestions of artfulness, artifice, and antagonism alike.\u003c\/p\u003e\u003cp\u003eAptly, the song “Imitation of War” maps the range of the eponymous record’s domain, in which Cohen surveys, with refreshing urgency and a refined sonic palette, mythologies and psychologies both classical and deeply personal. Her characteristically ethereal vocals precipitate, among orange and laurel trees, upon rockier terrain than ever before, negotiating a “muse’s crown” and “a snare set by the devil.” The uneasy idyll, set to a brisker tempo and more spirited and spacious band-centered arrangement than most anything on \u003ci\u003eSpring\u003c\/i\u003e (2019) or \u003ci\u003eOpen to\u003c\/i\u003e \u003ci\u003eChance\u003c\/i\u003e (2016), her prior two albums with Paradise of Bachelors, captures the flexibility and finesse Cohen wrings from reduction. Distilled to an oceanic essence of guitars, bass, drums, and vocals, Imitation of War is simultaneously (and somewhat counterintuitively) her loosest, leanest, and most liberatingly unclad album and her most theatrical set of songs and performances to date. “Molière’s Reprise,” named for the seventeenth-century French playwright, sets the mise en scene: like the apple tree that hangs on \/ the curtains rise, I sing my song \/ myth changes to an actor’s call the bell rings, the curtains fall \/ and storyless I’m off.\u003c\/p\u003e\u003cp\u003eThis kind of allegorical theatricality manifests not only in the redolent, if sometimes cryptically allusive (and intentionally Jungian), symbolism and subject matter which includes El Dorado, Circe, and Orion in addition to the aforementioned cast of muses, saints, and devils, at play in night and nature but likewise in the immediacy of its inky, glammy production. Cohen began writing several of these songs, notably “Tears on Sky Mountain,” in the fall of 2020, while she was recording with Gun Outfit (with whom she plays bass) in Pine Flat, California, near Sequoia National Forest. A nearby forest fire darkened the day into an eerie, eternal gloaming, ominously masking and unmasking the moon above the redwoods a menace and color palette that shaded the resulting songs.\u003c\/p\u003e\u003cp\u003eEngineered and co-produced by Robbie Cody of the bands Wand and Behavior, whom Cohen credits with helping to instill a newfound levity and sense of fun in the recording process, \u003ci\u003eImitation of War\u003c\/i\u003e features both Cody’s bandmates Evan Backer and Evan Burrows and Cohen’s regular collaborator and bandmate Daniel Swire, also of Gun Outfit. 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