Love and violence recur across three eras in Cheshire.

Ben Watt’s folk-jazz beginnings, his five songs with Robert Wyatt

Psych folk shaped by home, weather, memory and hand-made time.

Ambient folk of guitar, winds and memory, shaped around Luca.

A 1965 folk album between its original sleeve and the stories told later.

Old folk materials, arrangements with something left unsettled.

A flooded house, family ghosts and an English winter.

Acoustic folk, fingerstyle guitar, Montana landscapes and family memory.

Ambient folk, zither, cello, tape and interrupted time

An essay on attention, editorial risk and the human work of discovery.

Minimal ambient shaped by light, repetition and everyday detail.

Ambient folk of guitars, rain and frogs, where intimacy opens into distance.

Recent oblique folk moving through rooms, weather, distance and open ground.

A route through shadow, heat, stone, water and cultivated ground.

Wartime pastoral drama of memory, pilgrimage and the English countryside.

Pastoral electronics, South Downs, Ravilious and train rhythms

Ambient folk reworks tracing twenty years of Mariska Baars’s songcraft.

Maisy Owen on poetry, distance, Nashville, folk and the places that remain.

Ambient folk, CD-R culture, free-folk networks and the rise of circulation

Experimental chamber pop, fretless bass, improvisation and slowed time

A route through shadow, heat, stone, water and cultivated ground.

BBC ghost story: railway haunting, signals, telegraphy and dread

Experimental folk, field recordings, ritual textures and Staffordshire landscape

Public films, library music, tape clubs and Britain’s managed landscape

Hauntological ambient, field recordings, tape decay and edited rural memory

Bossa nova, folk and art pop moving from private rooms into social life.

Experimental R&B, jazz, fractured pop and songs that refuse to settle

Pastoral electronica, dream pop, organ and badly catalogued memory

Animated folk tale, fog, forest, fear and unstable perception

Experimental ambient, field recordings, piano and porous soundscapes

Six years after Punisher, Phoebe Bridgers returns with a record full of people that keeps looking for ways to disappear. Vocoder, silences, borrowed melodies and ambient tails turn Lost Weekend into a...

Written between Shetland and the Thames estuary, Wild Convenor treats distance less as separation than as a working method: songs sent out, altered elsewhere, and returned carrying something the other...

In Our Eyes Are Filled With Moss, the human body does not last long. It becomes wood, mud, blood, earth and stone while voices, woodwinds and noise work around its edges. Grey Malkin makes folk the wa...

Before ambient folk had a name, its materials were already scattered through folk revival, private press, field recording, minimalism and home tape. A history of a genre assembled backwards, from John...

The Dark finds Chelsea Wolfe stripping some of the ceremony from her music. What remains is less mysterious, sometimes almost blunt: songs about leaving, returning to yourself, and discovering how ord...

For fourteen years, BBC1 used the single television play to look at Britain while it was changing. What survives of Play for Today is part drama, part social record, and part damaged archive.

Elanor Moss’s debut keeps changing its story while you listen. A lover becomes a threat, a family memory changes hands, a tape machine pulls the music out of tune.

Nothing Space Music finds Maya Ongaku turning folk, jazz, library music and field recordings into a music of exact distances, where every instrument keeps its own air and landscape is heard in the spa...

Blake Hornsby’s Brugmansia lets raga, acid folk, birdsong and altered voices grow together until pastoral beauty begins to carry its own toxicity.

Family videotapes, Cornish day trips and half-preserved voices: Grandma Love turns the imperfect remains of childhood into a small electronic archaeology of memory.

Huis is yadayn’s first self-released album, as well as his first to appear on vinyl; it took shape over several years and was recorded in different homes across three countries.

For half a century, Pink Moon has been read backwards through Nick Drake’s death. Its lyrics suggest another structure: a descent from moon and stars to road, city, flowers and ground, before From the...

On A Blooming Body, Cinder Well carries an old folk sensitivity into traffic, kitchens and brickwork, finding landscape where the city has interrupted it rather than where tradition expects it to surv...

Emily Portman’s Dominion of Spells finds an unexpected continuity between fairy-tale metamorphosis and the historical policing of the female body, carried by piano, banjo, strings and close, unsettled...

Built from field recordings, dispersed studios and an ensemble that never quite submits to one centre, The New World gathers a damaged planet into song while remaining wary of the beauty that might ma...

Recorded in Philadelphia in 2007 and released nearly twenty years later, Woodwose finds its deepest strangeness where pastoral song, electric weight and private ritual begin to share the same ground.

Raoul Vignal’s music has often been heard through an imagined English countryside. Its actual history runs elsewhere: Lyon, Berlin, vanished early projects, electric noise, family memory and places th...

On tiarn, Hana Stretton lets songs emerge from birdsong, domestic noise and half-remembered voices, tracing the point where landscape, recording and involuntary memory begin to occupy the same space.

On Bivabippabualukka, Sofie Birch makes a small world from wind, wood, invented words, birds, minerals and worn magnetic tape. Its lightness is real, but it has been assembled from things that remembe...

Across Britain, reservoirs made distant valleys part of the city. Beneath their water remain roads, chapels, farms and the older geography that modern infrastructure asked the countryside to surrender...