David Grubb
Circadia
(Cambrian Records)
★★★★

WELSH label Cambrian Records continues to put out top quality contemporary folk, the latest of which is the marvellous new David Grubb album.

An instrumental concept set about the sleep cycle, it’s an ambitious, often surprising listen. The Scottish composer plays violin, viola, mandolin, singing saw and the Theremin, and is joined by a band of talented musicians who enable him to realise his sonic vision.

Daily Grind sets things in motion, its frenetic opening section soon breaking down into a jazzy, piano-led middle section. Elsewhere Hypnagogia — the transition between wakefulness and sleep — is an epic, forceful track, while The Somnambulist aptly wanders along at a dreamy pace. 

On Soundcloud Grubb has listed his music as “post folk.” Fans of weird and wonderful artists like Newcastle’s Richard Dawson, Mind Over Mirrors and Penguin Cafe Orchestra will love this. 

Bright Eyes
Five Dice, All Threes
(Dean Oceans)
★★★★

THE urgency of the two opening songs on the new Bright Eyes album confirms Conor Oberst has got his mojo back.

Those in the know will be aware the Omaha, Nebraska band hit the indie big time in the mid-2000s, with band leader Oberst feted as something of a modern-day Bob Dylan, writing literate songs that captured the political and social zeitgeist. 

Bells and Whistles barrels along, with Oberst sounding strung out and confessional (opening line: “I was cruel like a president”). Ditto the fabulous El Captain, which could be an outtake from their critically acclaimed 2005 record I’m Wide Awake, It’s Morning.

The rest of the set can’t quite maintain the momentum but there are enough highlights, including guest slots from Cat Power and The National’s Matt Berninger, to make it the group’s best work for some time.

Trygve Seim, Frode Haltli
Our Time
(ECM)
★★★★

HAVING played together for nearly 25 years, Our Time is the latest album from contemporary jazz duo Trygve Seim and Frode Haltli.

Playing saxophone (soprano and tenor) and the accordion, respectively, it’s a beautiful, often beguiling instrumental set — recorded in Himmelfahrtskirche church in Munich.

The two Norwegians conjure a far wider array of sounds and emotions than you might expect from just two instruments. Opener Du, mi tid is all dark textures with Seim’s saxophone work reminding me of John Surman, while the eight-minute Improvisation No. 1/Fanfare is a funereal, vaguely unsettling piece that finds Seim creating lonesome whale-like sounds.

Elsewhere Arabian Tango brings a playfulness to proceedings, and Oy Khodyt’ Son, Kolo Vikon, a traditional Ukrainian lullaby, was presumably chosen in response to the 2022 Russian invasion. 

The haunting Elegi closes another inspired release from ECM Records.