The Predatory Wasp
This was released seven years ago, but I’ve only just found it and I can’t get over how much I love it. Hannah Cohen put out the brilliant Earthstar Mountain LP last year, but this is taken from 2019’s Welcome Home, which is probably my favourite album of the year so far, if that counts. I just can’t handle the melodies, and yes, of course I’m crying.
Imarhan started out around 2008, a loose collection of friends who began to play together and whose style reflects their cultural and generational background; dry guitar riffs, pop melodies and pan-African rhythms which draw on traditional Tuareg music, African ballads and the modern pop and rock the band heard growing up.This is taken from ESSAM, their fourth album, recorded with the same core lineup, but with a significant shift in their sound and approach, moving toward something more open, modern, and exploratory.
Here’s something else lovely I missed from last year; file this in the Natalie Bergman folder of 2025 albums that belong to an entirely different era. It also strongly reminds me Tim Heidecker and Weyes Blood’s majestic Oh How We Drift Away: arguably the greatest 60s single made this decade.
Cate Le Bon’s new album Michelangelo Dying is a reflective, experimental pop record shaped by grief and personal change. Built from warped guitars, processed saxophones, and layered vocals, it moves away from her earlier sharp-edged sound into something softer and more abstract. The lyrics are impressionistic but emotionally direct, touching on memory, identity, and loss. It’s her most introspective album to date, balancing clarity and strangeness in equal measure.
I’ve written about Avi C. Engel’s music a few times before on TPW and their music always stops me in my tracks. Nyx is the opening track from their latest album, Mote on the UK label Fenny Compton – an 8-track collection based around voice and acoustic guitar – and is as haunting and evocative a slice of alternative folk as you’re likely to hear this year.
This is the first single from A Place In My Memory Is All I Have To Claim, the new album by Australian atmospheric pop trio Hydroplane. On it, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century.
https://hydroplaneband.bandcamp.com/album/a-place-in-my-memory-is-all-i-have-to-claim
I’m going to Simple Things Festival in a few months, so have been doing the usual things of obsessively listening to every single artist billed. This includes The Orielles; a band whose name I recognise but have never previously listened to. Taken from their 2022 album album Tableau, The Improvision 001 is utterly brilliant, almost unclassifiable and has been on constant repeat for the last few days. And yes, I appreciate this came out several years ago, but also: the past is a largely safe and friendly place that I enjoy exploring.
Se Amaba Así – which loosely translates to “The way love was” – sees Raquel Berrios and Luis Del Valle Buscabull devoting their second album to the examination of modern love and the myriad strains of Latin music to explore their struggles as both artists and a romantic couple. It’s darker in tone that their debut Regresa but no less captivating.
On her debut album Desert Window, Lucy Gooch stays true to her electronic foundations, while incorporating more acoustic instrumentation and digging deeper into her folk roots through songwriting. At the heart of Lucy’s music is her rapturous, at times operatic vocal, with which she bring to the fore more than with previous releases. The result is described as “an atmospheric balance between Kate Bush and Cocteau Twins harmonies” which is risky ground with which to invite comparison; the fact that I’m not mad about it shows just how good this album is.
This is taken from Under a Familiar Sun, the new album from The Vernon Spring and the solo project of British composer and producer Sam Beste. Over twelve elegant songs, Beste’s beautiful, expansive compositions centre around a graceful and deliberate approach to piano, accented by vocal collaborations, spoken word, and a gently compelling mix of electronic and acoustic instrumentation.
https://thevernonspring.bandcamp.com/album/under-a-familiar-sun
The Predatory Wasp 