A must-have compilation for anyone even remotely interested in the blues, this collection of rare, largely unheard music from the pre-war South is a real reminder of the true spirit and meaning of this old and mythic form of American folk. Guy Mark Hinant of Sub Rosa has done a wonderful job of collecting, researching, and reporting on these tracks, all of which were recorded at 78 rpms and originally released at the time of their creations on scattered labels. Many of these records have floated out into the realm of obscurity and have only recently been discovered again, some of them existing as sole remaining copies, reproduced and presented here for the first time... review :: by Crawford Philleo

Emeralds guitarist Mark McGuire releases a hell of a lot of material through his various guises and collaborations, much of which is very limited and prone to rapid disappearance. This welcome reissue combines two such long-unavailable solo tapes that were originally released on Emeralds’ own Wagon label in 2007 and 2008. I have not been following Emeralds-related projects too closely, so I don’t know how “Tidings” and “Amethyst Waves” stack up against the rest of McGuire’s solo oeuvre or whether or not James Plotkin’s remastering efforts made a big difference, but I can definitively state that this is a pretty great album. Stylistically, there are enormous similarities to Mark’s main gig, but these recordings show a more conspicuously virtuousic side to that sound without sacrificing any listenability. .. review :: by Anthony D'Amico

“Maersk” is the first release for Skjølbrot, which is the nom de plume of one Dan Bennett hailing from Bristol, UK. WIth this album, Bennett has managed to craft an amazingly well thought out album that is simultaneously beautiful, startling, and haunting. “Maersk” combines field recordings, electronics, voice, and a few bits of old-fashioned piano to create this incredibly rich forty-minute disc... review :: by Matt Blackall

Nika Danilova is excitingly refined on her latest EP, “Stridulum,” on the always-satisfying Sacred Bones label. In a way it is kind of sad to see her pitch much of her earlier noisier techniques for a more poppy sound and the rough effects of lo-fi for a more hi-fi recording, but I will say that she still manages to absolutely knock my socks off. I think all the ingredients that were conservatively mixed in before are maximized in this one; gothic flavor, soaring operatic vocals, and downright catchy hooks keep me coming back to this one. I think this is everything that her earlier “Clay Bodies” was heading toward. Don’t get me wrong, this one is not poppy for popularity’s sake... review :: by Dave Miller