Bill Nace & Mike Polizze have announced “Live at Pageant : Soloveev”, recorded in 2025, following the release of Mike’s second solo album ‘Around Sound’. Thankfully, Mike captured this taishogoto and guitar face-off on his iPhone, allowing this unhindered exhibition of full-spectrum free string playing in its rawest form to be captured for us all to enjoy.

Le Ren’s “Don’t Be Funny Without Me” is a phenomenally powerful album. The arrangements expand beyond the spareness of her earlier releases, with fiddle, drums and layered harmonies; this is one you will return to again and again.

Emma Lucia and Ship Says Om (Jenny Gillespie Mason) talk us through “Djuphjärtad,” their collaborative four-song EP blending Nordic-rooted folk melodies with ambient experimental textures. Using nature-based field recordings, synths, and organic instrumentation, the Bay Area musicians move between intimate songs of romantic anticipation and elemental sound meditations.

Baby Dee’s “Child of Joy” is her first album in 11 years, reworking songs from her catalogue for accordion. Where piano and harp once carried them, the accordion makes them preciously intimate and impossibly vast. Dee is the great chronicler of everyday miracles, written in alphabets of light — the eye of a poet, the hands of a carpenter.

Nick Jonah Davis’s “Rose Delta Rising,” recorded at Black Bay Studio in the Outer Hebrides, pairs electric guitar with Neal Heppleston’s bass, Joe Danks’ drums and Richard Birkin’s strings. This is a very elegant and accomplished set that feels like a distillation of Nick’s work over the years. Musically adventurous, impeccably recorded and performed, it is his best expression yet. Includes the premiere of the “Spoonbill” video.

The Male Pattern, the project of Queens songwriter, novelist and English professor Will Schwartz, shares “Charlie (The Robbery)” from the forthcoming album “I Was Shot in the Heart!”, out September 25th via Barely Out Recordings. A character-driven narrative ballad featuring Danny Bateman of Frog on piano, it’s darkly funny, clever, and “sneakily beautiful”.