Previously unreleased recordings from 1978, 1981 and 1982, conceived for choreographers. The bandoneon-playing of the Argentinian Juan Mosalini, electric piano by Jacques Denjean, electroacoustics by Bruno Menny and Didier Malherbe from Gong are swirled into a mix of spinet dulcimer, flute, hurdy-gurdy and other-worldly singing (amongst other ingredients), all steeped in the sonic atmosphere of a vintage acid-folk freak-out.

Warmly recommended.

Recorded in 1977, the obverse of punk, these are mysterious, gentle songs, simultaneously ancestral and futuristic, occasionally mounting in rhythmic urgency to evoke the Motorik of Faust. (Have a listen to Topaze.)  Some were collected by Parrenin in rural communities; others have lyrics by Jean-Claude Vannier, who attended the recording sessions.
The engineer was Bruno Menny — a follower of Xenakis — whose 1972 Cosmographie LP is a landmark in French electroacoustic music. He recorded Parrenin in the converted barn of Jacques Denjean, who worked with Dionne Warwick, Francoise Hardy and the Double Six. (The great Albert Marcoeur recorded two albums there, in Fremontel, Normandy.)
‘If we must risk a few comparisons then Vashti Bunyan, Linda Perhacs, Joanna Newsom, Collie Ryan, Shirley Collins, Trees Community, Sourdeline and Véronique Chalot all spring spontaneously to mind. But this is too reductive for the timeless singularity of Emmanuelle Parrenin.’
 

This is a great way into Partch, revisiting with gusto three well-known, relatively-compact works — a highly rhythmic dance piece, a cross-cutting film score, and Barstow, with HP intoning hitchhiker graffiti.

His 1966 debut for Vanguard, evocatively fusing psych-folk and raga way ahead of its time; also featuring flautist Jeremy Steig and long-time Dylan cohort Bruce Langhorn.
Vinyl from Harte.

Jazz-folk originally issued in 1977 by the BRBQ label out of Bloomington, Indiana; reissued here with extras by Numero.

CSNY-style folk and rock from 1973, Boulder, Colorado, reissued by the Numero offshoot.

Holy moly, June Tabor on ECM. ‘Quercus’, ‘oak’: ‘roots deep in British folk music; leaves and branches reaching upward in jazz-inspired lyrical improvisation.’ With Iain Ballamy and Huw Warren.

Catherine Hershey and Gilles Poizat performing eight poignant settings of grandad Hershey’s poetry, with traces of Rock-Bottom Robert Wyatt, Shirley Collins, trip-hop, Americana and DIY punk, all melded leanly and atmospherically together.

With Leadbelly, Ramblin’ Thomas, Charley Patton and co.

Quite different to A Wonder Working Stone and Spoils, the ten songs here are ‘sparse, intimate and concise. The focus throughout is on Alasdair’s deft acoustic fingerstyle guitar and his voice. The songs are variously elliptical and gnomic, direct and personal, romantic and tender.’ With sparing, decisive contributions on clarinet and tin whistle — and from Crying Lion.

A treat for those of us who like their Alasdair Roberts straight-up and hardcore. A pointed, deep selection of mainly Scottish folk songs, recorded live in the studio; beautifully sung, with minimal, exquisite accompaniment by acoustic guitar, or sometimes piano. Sexual oppression, Scottishness, political resistance; stray cows, mystical horses, waterbird royalty. Stiff shots of rapture, fighting talk, heartbreak, and tragedy. Terrific.