Wind

Fife bard’s fourth stretches his sonic palette, if not his vocals

Prolific songwriter expands into the literary world with 'Infinity Blues'

The son also rises. A great, Orbison-inspired piece of work

Plus accompanying live album to be reissued this September

Remastered recordings dust off the crowning glories of English folk’s Indian summer

A couple of interesting posts to draw your attention to, before we get into the business of this week’s playlist. First, Robin Pecknold from Fleet Foxes called in at the Department Of Eagles blog to tell us about the two bands having vague joint plans. And on last week’s playlist blog, liamdog7 posted something interesting about how much money Columbia are charging for Bob Dylan’s “Tell Tale Signs”. “As a completist fan I'm being taken advantage of,” he writes. “It's actions like these from record companies that actually promotes illegal downloading.”

I’m not, as a rule, fixated on the idea of ‘summer’ and ‘winter’ music, but still, the arrival of the third Brightblack Morning Light album last Friday was incredibly well-timed. I can’t think of a band who make such profoundly horizontal music, who create a soundtrack for being happily paralysed by extreme heat. Or, I suppose, by other stuff.

A couple or so months ago, I was grappling with Bonnie “Prince” Billy’s “Lie Down In The Light”, and wrote about Will Oldham’s increasing penchant for setting his voice up against more conventionally mellifluous female foils. That point seems worth making even more today, with the arrival of a new live album by the great man, “Is It The Sea”.

Singer brands iPods 'Fisher-Price toys'

I guess we’ve finally mentally returned from Latitude, so it’s the time of the week to unveil Uncut’s office playlist. A few nice new entries that I need to spend more time with, and only a couple of obvious weak links here. Dive in. . .