Elanor Moss talks us through every track on her debut album “The Knife, The Needle,” out now on Merge Records. She traces “Fixer” from a single sitting at her kitchen table, the tape malfunction that reshaped “Improvisation,” and the George Saunders book that guided her to write by intuition until a voice emerged, then following that voice wherever it goes.

Danny Neill, alongside photographer Sophie Reichert, spends four days at Larmer Tree Gardens as End of the Road turns twenty, still sailing against the mainstream tide. YHWH Nailgun open with a sonic assault, Geese headline to an 80% approval rating, Ty Segall gets seen twice in one day, and ØXN spray-paint a space for folk tradition with murder ballads and drone-enriched codas.

Radie Peat announces her debut solo album “No Human Tongue Can Tell” and shares her new single “The Moon and Stars”, alongside an accompanying video directed by Peter Eason Daniels. The Lankum and ØXN vocalist rewrites a traditional song’s lyrics into a study of betrayal and abandonment. New dates at London’s Barbican and Paris’s La Trabendo have also been announced.

“Live at the Chapel” is a twenty-five-minute, four-track teaser from London folk interpreter Charlie Wheatley, the first chapter in a three-part project covering around forty songs. Recorded at Stone Nest, a nineteenth-century Welsh church in London’s West End, the unconventional lineup of guitar, viola and two double basses fills the space with serious ambience. A wonderfully fresh and vibrant EP.

Mary Gauthier’s “Reckoning” strips things down to voice, guitar and occasional harmonica, her rawest album yet, co-produced with Neilson Hubbard and modelled on Springsteen’s Nebraska. Co-written with Jaimee Harris, Ben Roberts and Lori McKenna among others, the songs build around characters who arrive at pivotal moments and face reckonings that define their lives and communities.

Jake Xerxes Fussell’s sixth album, The Old Beloved Path, is his most delicately considered release yet — his most elegant and unassuming. Seemingly easy in nature and quite light for the first few listens, the album then works its magic and its subtlety lingers in the mind: yet more proof Fussell is still only getting better.

Festival De Musique Émergente turns Rouyn-Noranda into a one-of-a-kind occasion for its 24th edition, the lineup running from Charlotte Cornfield’s stripped-back songwriting to Camilla Sparksss’s frenzied techno. Arielle Soucy opens the weekend inside a former church, and La Sécurité headlines a rapturous night at Petit Théâtre du Vieux Noranda. By Sunday, a boat trip round Lac Kanasuta gives way to The Sadies closing the centennial celebrations.

Sairie’s long-awaited debut, Beneath the Spreading Tree, sounds like a lo-fi Pentangle with an added layer of hauntological strangeness. The Brighton trio’s lead vocals make songs seem haunted by their own flickering shadows. This ageless-sounding debut is starkly in its beauty and richly rewarding.