Exclaim!'s Top 10 Folk & Country Albums of 2015

Sufjan Stevens has taken creative detours into textured electro-pop, orchestral suites, and holiday music, but *Carrie & Lowell* returns to the feathery indie folk of his quietly brilliant early-’00s albums, like *Michigan* and *Seven Swans*. Using delicate fingerpicking and breathy vocals, songs like “Eugene,” “The Only Thing,” and the Simon & Garfunkel-influenced “No Shade in the Shadow of The Cross” are gorgeous reflections on childhood. When Stevens whispers in multi-tracked harmony over the album’s title track—an impressionistic portrait of his mother and stepfather that glows with nostalgic details—he delivers a haunting centerpiece.

Harpist and singer/songwriter Joanna Newsom’s idiosyncratic take on folk and Americana has always been a powerful—if polarizing—experience. Her fourth album strikes a balance between the ornate orchestral explorations of 2006’s *Ys* and the more stripped-down confessions of 2010’s *Have One on Me*. She blends labyrinthine wordplay (“Bleach a collar/Leach a dollar/From our cents/The longer you live, the higher the rent”) and obscure subject matter (the names of Lenape villages on what is now New York City) into songs that are passionate, sincere, and surprisingly immediate.

"The Best Folk Album Of The Year" – FADER Magazine "She’s a singer with an unmistakable and communicative voice, able to convey hope and hurt with equal clarity" – Pitchfork The Weather Station, the musical project of Toronto artist Tamara Lindeman, has announced a new album, entitled Loyalty. The project's first release on the Outside Music label in Canada wrestles with knotty notions of faithfulness and faithlessness to our idealism, our constructs of character, our memories, and to our family, friends, and lovers representing a bold step forward into new sonic and psychological inscapes. It's a natural progression for Lindeman's acclaimed songwriting practice. Recorded at La Frette Studios just outside Paris in the winter of 2014, in close collaboration with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist), Loyalty crystallizes her lapidary songcraft into eleven emotionally charged vignettes and intimate portraits, redolent of fellow Canadians Joni Mitchell, Leonard Cohen, and David Wiffen, but utterly her own. Loyalty brings a freshly unflinching self-examining gaze and emotional & musical control to The Weather Station's songs. Sonically, the record is a quietly radical statement, with certain passages achieving an eerie harmonic and rhythmic tension new to The Weather Station. An extraordinary singer and instrumentalist on Loyalty she plays guitar, banjo, keys, and vibes but Lindeman has always been a songwriter's songwriter, recognized for her intricate, carefully worded verse, filled with double meanings, ambiguities, and complex metaphors. Though more moving than ever, her writing here is almost clinical in its discipline, its deliberate wording and exacting delivery, evoking similarly idiosyncratic songsters from Linda Perhacs to Bill Callahan. Lyrically, Loyalty inverts and involutes the language of confession, of regret, of our most private and muddled mental feelings, by externalizing those anxieties through exquisite observation of the things and people we accumulate, the modest meanings accreted during even our most ostensibly mundane domestic moments.

The former Drive-By Trucker delivers his most diverse album yet in *Something More Than Free*, a beautifully observed and finely conceived collection of windswept rock that finds the singer/songwriter exploring questions of place and identity. While “Speed Trap Town” perfectly captures the feeling of growing up in rural America, “24 Frames” ponders faith and family—all with the lyrical acuity of Townes Van Zandt and the melodic aplomb of Tom Petty.

Not quite country, Americana, folk, songwriter or pop, Daniel Romano’s exquisite and expansive new album, If I’ve Only One Time Askin’ is pieces of each, but ultimately the work of a singular mind. To peer inside, all you have to do is listen. Self-produced and largely self-performed in his hometown Welland, Ontario, a picturesque water town near Niagara, the album features Romano’s baritone croon and poetic hard luck storytelling set atop an expanded palette filled with sweeping strings, blasts of horn, stately piano, twangy pedal steel, an 808 drum machine and swaths of accordion. Not a retro preservationist, nor a post-modern cowpunk, the songwriter embraces classicism and sadness in its extremes to create something beyond nostalgia.

The second album by California-based singer/songwriter Jessica Pratt is also her first conceived as an actual album. Her 2012 self-titled debut fell together by happenstance, as enough songs were completed for a full release, while 2015’s *On Your Own Love Again* was deliberately written and recorded at home, in Los Angeles and San Francisco, over the previous two years. Though it’s tempting to refer to these gorgeous, gentle songs as reminiscent of the Laurel Canyon sound, only Judee Sill in the early ‘70s came close to this level of exquisite reflection and musical sophistication, as well as a few of Pratt\'s peers like Mia Doi Todd.

Seeing the world through a Pratt's eyes is a surpassingly beautiful thing. But subtly, oh so subtly, and with such sweet flakes of humor falling. Tunes and vibe to the max.

After a run of four increasingly ambitious albums in just half a decade you’d perhaps forgive English singer/songwriter Laura Marling a dip in scope and upward trajectory on her fifth record. Not a bit of it. If anything *Short Movie* pushes further, with Marling unafraid to add blockbusting production to her exquisite bare-bones folk (witness the countryfied sass of “Strange” and the rumbling, stadium-ready thunder of “False Hope”). It’s the title track however—an existential epiphany reconfigured as a thrillingly profane call to arms—that stands shoulder-to-shoulder with her best work.