Bella Union, 2010

Singer-songwriter Paul Marshall’s debut under a new moniker lays out a delicate and thought out combination of fingerpicked guitar and deceptively warm vocals – deceptive because his lyrics are often coldly candid, and brimming with wry melancholy. Added to this already solid base is a compositional adventure that hints at Sufjan Stevens, though it’s reined in enough not to disrupt the record’s consistent (sombre) mood.

Kemado, 2010

Be Set Free sees the Pennsylvania songwriter delivering his third album of chirpy, barroom-friendly folk-pop. The soulful singalongs have a familiar quality, which is intended – Langhorne is tapping into communal, gospel-inspired melodies. It’s not highly original then, even with its genre-roaming, and the lyrics can be clichéd as well as earnestly penned, but the backing of a full band and the timely touches of strings, piano, and organ, ensure the record pulls through in celebratory style.

Deep Elm, 2010

If Bon Iver joined a shoegaze band, this would be it. The falsetto-heavy layered vocals sit back in the mix, sharing the stage equally with the band’s alternately restrained folk style and driven indie rock approach. The songs are all catchy and concise, so there’s a lot to enjoy on this album in repeated listens. My only criticism is that the band’s sound is a bit inconsistent – the album sets you up for a relaxed listen with the first few songs, then suddenly the drums come pounding in and it’s a bit jarring.

Bella Union, 2010

Folk / country / indie, No Ghost varies from slower numbers with innovative electronic elements to upbeat indie-folk akin to that of Mumford & Sons and Of Montreal. Catchy, complex songwriting, and I also detected hints of Animal Collective in there too on some tracks.

Sixgunlover, 2010

The confines of a split 7″ don’t leave much room for an artist to work with, but both Bill Dolan and JBe do a great job with the limited space they’ve got. Dolan’s songs are first, and he contributes two very well-written acoustic tunes that place a bunch of melodic guitar work into a slightly western context. JBe’s side features the song “Ferment The Taste”, which is a soft folky tune that builds to the best moment on this release: horns suddenly take focus with a powerful call-and-response that’s likely to leave you breathless. Definitely check this out if you’re into folk music of any kind.

Sub Pop, 2010

Avi Buffalo from Long Beach, California are putting out their debut album at the end of this month. Combining indie rock with folk and sometimes more poppy elements, this is a record with some catchy, well-written numbers, and some tasty vocal work in places.

Big Scary Monsters, 2010

The debut solo album from the ex-Gorilla Biscuits, Quicksand and Rival Schools man is a gently upbeat acoustic affair. Although he shows his roots with covers of CIV and Agnostic Front, that’s as close the record gets to vociferous; instead Schreifels chooses to get his points across in an unassuming folk fashion with this collection of smart and tuneful songs.

Red Leader, 2010

A New York 8-piece that make an eclectic noise, as an 8-piece are liable to. Good Problems sounds a bit like Modest Mouse, or a moody post-rock band, or something rustic and folky, which makes it a fairly disjointed listen. With some patience though you’re bound to dig out something you like on here.

Monotreme, 2010

Macabre, bleak and beautiful: so goes the experimental folk project of Toronto’s Liz Hysen. A melancholy trio of piano, cello, and acoustic guitar provide the unnerving atmosphere to Become Secret, a kind of gothic austerity over which Hysen’s downbeat vocals preside like a doomsayer whose prophecies are coming true around her. Gloomy and addictive.

River Seine, 2010

Two Oregon sons of preachers combine their passion for digging up ancient relics and upbeat folk-pop harmonies for this homely debut full-length. Their backgrounds make for some predictably ripe lyrical territory: sins, faith, heaven and hell provide the ruminative fire behind the hand-claps and gentle instrumentation.

Self-released, 2009

Somewhere between Sufjan Stevens (especially Illinois) and The Postal Service, this debut comprises some suitably lovely electro-folkpop. Synths and banjo embrace like old friends in a sound that’s always uplifting, be it sad and dreamy (“Broken Horse”) or sweet and catchy (“Hannah”). Weathervanes will get a deserved re-release on Frenchkiss/Mom & Pop Records in Spring 2010.

Self-released, 2009

There’s something inherently likeable about Sticks And Stones – probably something in its earnest simplicity, its sing-along catchiness, or in the gentle alt-country lilt of Larson’s voice. The Minneapolis songwriter’s 7-track debut is split between lo-fi, girl-and-a-guitar folk, and full band, barroom ditties – and is charming throughout.