John Amen

With his new LP, The Dreamin’ Kind, Langhorne Slim largely backburners the folkish and lo-fi sounds of earlier albums, including 2021’s Strawberry Mansion. Aided by producer Sam Kiszka, he embraces rock guitars, synths, and elaborate arrangements. While Slim has never sounded so polished, panoramic, or mainstream, his authenticity is

Editor’s Note: Here at No Depression there’s too much great roots music in a year for us to cover it all. So in December, when new releases slow down, we ask writers to review some of the best albums we missed throughout the year in an on-going series

Singer-Songwriter Daniel Knox’s new album, Mercado 48, was recorded over two days in a Portuguese shop of the same name. Knox’s most unadorned renderings to date, these tracks are largely built around sparse piano parts and his signature baritone. That said, Knox still communicates remarkable presence, occurring as

Building on their 2018 EP, Among Horses III, Haley Heynderickx and Max García Conover release their full-length debut, channeling, as their bio states, “the spirit of Woodie Guthrie.” The project does indeed exude a decidedly vintage feel, though themes such as the dark side of capitalism, the role of greed

With his full-length debut, You’re No Island, Andrew Daly Frank offers a moody and transportive set. Carried by Frank’s distinctly supple voice, the album highlights the Pittsburgh, PA-based singer-songwriter’s knack for crafting low-key yet engaging tunes, his mixes shimmering like still-wet watercolors glistening in autumn light. Island,

With her fourth LP, Mammoth, Lydia Luce navigates lushly produced tracks, offering crystalline vocals and lyrics that laud the positives of life: nurturing love and awe in the face of beauty. Dreamier than Luce’s previous work, the set captures the singer-songwriter as she revels in stillness, invoking an expansive