MASON SUMMIT – Summer Cold

In the last quarter of 2015, Mason Summit left a lasting impression with his third album ‘Gunpowder Tracks’. Exploring various avenues of pop, Americana and folk, the singer-songwriter showed a talent and knowledge of influences that stretched beyond his years. With the world awash with great music in the digital age, it didn’t quite reach the size of audience it deserved but, for those who actually heard it, the feeling was unanimous – this was an unexpected gem that set expectations high for a follow up.

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KATE MICK – Undertow

A singer songwriter from Rhode Island, Kate Mick loves the banjo. In fact, she loves it so much, it’s the only instrument featured on her 2016 full length ‘Undertow’. The idea of voice and banjo alone has probably sent a few people running for the hills, but given time to adjust, there’s actually something about such a simple concept that works: not only is Mick adept with her chosen instrument, but she’s a fine songwriter. Recorded live in an otherwise empty theatre on one night, this album’s ten songs take a voyage into a land of extremely haunting Americanaville; a land populated by broken shacks, gas lamps and a real focus on introspection. It should be a much tougher listen than it actually is, but Kate has one of those voices that just lifts everything…a voice that’s steeped in sadness and yet still has the ability to woo.

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HOUSE ABOVE THE SUN – Five Hours North

In 2015, House Above The Sun released a DIY EP that hinted at strong talents within light blues rock and UK Americana genres. Two years on, the band’s first full length takes those roots and tugs hard at them, resulting in a recording that’s like an old familiar friend; ten songs displaying a very live sound coupled with a few classic hooks and lots of great playing.

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T.E. YATES – Silver Coins & White Feathers

You might never heard of T. E. Yates prior to the summer of 2017, but before the release of his debut full-length ‘Silver Coins & White Feathers’, the Manchester-based singer-songwriter spent years plying his trade on the underground scene, both as musician and poster artist. This record alone has roots stretching back several years and he pulls a huge selection of moods from his bag of old fashioned trickery to give these tunes an appropriate studio send off, ranging from thoughtful and maudlin, to the flippant. Occasionally, his work even has a sneering quality, as best heard on the album’s opening pairing.

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