AUK’s EP Round-Up – November 2025

What! November already! Where has the year gone? It feels like only yesterday that we were embarking on a new adventure, excited about the forthcoming EPs that would continue to enthral us through the onset of spring and beyond. And now, here we are, about to wave goodbye to Autumn, though with these balmy temperatures, it has so far felt anything but autumnal, and venture into winter. Who knows what the next few months have in store for us weather-wise, but what I can tell you is that November’s EP round-up has, as usual, an eclectic mix of musical styles for you to enjoy. Who has won the coveted ‘EP of the Month’ award? Read on. Oh, and by the way, keep an eye out in December, when I will be revealing the ‘Top 10’ EPs of 2025.

We will start this month with a truly astonishing new six-track EP from Lisa O’Neill entitled “The Wind Doesn’t Blow This Far Right”. Five-times BBC Folk Award nominee, O’Neill hails from County Cavan and has released five albums since her debut in 2009, culminating in 2023 with the universally acclaimed “All Of This Chance”. This new EP opens with the title track, one of the most powerful and emotive songs in many a year, which O’Neill began writing in November 2017 and finished in January of this year. Written as a reaction to the unsettled times we currently live in, the song’s message resonates with an almost immeasurable amount of empathy and importance. A song for our times and yet timeless, its essence magnified by the exquisite musical accompaniment from Jordan O’Leary’s guitar, along with Mic Gregory on harmonium, Seamus Hyland on accordion and Joseph Doyle on double bass. Elsewhere, ‘Mother Jones’ is another instant classic recounting the tale of Mary G. Harris Jones, who in 1902, was called the most dangerous woman in America following her organisation of miners against mine owners, leading directly to the introduction of America’s first child labour laws. It’s history retold at its best. Her haunting cover of Bob Dylan’s ‘All The Tired Horses’ has already gone in to folklore after being used in the soundtrack to the closing scene of the final episode of ‘Peaky Blinders’, while ‘Homeless In The Thousands (Dublin In The Digital Age)’ that was released as a stand-alone single back in January this year and features Pete Doherty, finds O’Neill, not for the first time, challenging social injustices. With a nod to the coming festive season, the EP includes O’Neill’s take on the classic Christmas carol ‘The Bleak Mid-Winter’ that frankly renders all other versions obsolete, followed by a reading of James Stevens’ poem ‘Autumn 1915’. With a running time of well over thirty minutes, the EP’s length is equal to many an album, but in truth, when the quality on offer is so utterly compelling, with poetry so powerful and emotive as this, all you want is more. This EP doesn’t just come highly recommended; it should be essential listening for all.

Next up, we have the four-track EP titled “Circles” from Greazy Alice. This is the second EP release this year from the New Orleans outfit that recently signed to the British independent record label ‘Loosemusic’, following on from “Just Another One” that came out back in August. The band’s leader, singer-songwriter, pianist, and guitarist Alex Panovich, was once also part-owner of a bar, and the death of one of its regulars is the inspiration behind the title track. This gentle ballad, with its delicate piano intro, highlights Pianovich’s craft at storytelling in song, his characters adorned with just enough flaws to feel familiar and yet at the same time remain morally ambiguous. The track gradually builds as the rhythm section kicks in, and includes some delightful acoustic guitar, while Jo Morris’ backing vocals help to sweeten up Pianovich’s somewhat rustic vocal delivery. The other highlight of this thoroughly enjoyable EP is the uptempo ‘Shine Mississippi’ with its energetic percussive pulse and sizzling pedal steel, all helping to create an infectious groove that turns the spotlight on a different aspect of the band’s repertoire. With a highly promising debut already under their belt, along with a successful appearance at ‘The Long Road Festival’ earlier this year, this new EP will surely help cement the band’s reputation and whet the appetite for their debut album due out early next year.

Following on, we have a delightful six-track EP entitled “Whose Face Is On Your Heart” from New York-based singer-songwriter and actor Kara Arena. This new offering follows on from her debut album “Something Blue”, which was independently released in December 2022. A graduate of the Boston Conservatory with a BFA in Musical Theatre and an emphasis in songwriting and devised theatre, Arena was recently seen performing in the new Off-Broadway musical ‘Islander’, though is possible better known to many for playing the role of Chloe, musician, singer-songwriter and love interest on Chuck Lorre’s tv sitcom “Georgie and Mandy’s First Marriage”, a part she landed by playing her own songs at the audition. Despite her obvious acting prowess, it is her songwriting and distinctive voice that immediately grab the attention as she sings the intro to the opening track of this EP, ‘Cowboy Song’, unaccompanied, her delivery emotive and yet pristine, before being joined by the percussive drive of the rhythm section and some dramatic fiddle playing. Regardless of the song title, this is a long way from Nashville, with Arena’s diction clearly East Coast, with a flavouring that hints at the Roache Sisters and possibly early Amy Speace, but I have to say it is one of the best songs I’ve heard all year. That said, the track ‘Watch Dogs’ runs it pretty close, again encased within a broad arrangement; the percusive pulse along with more fiery fiddle playing help to create an expansive soundscape topped off with Arena’s exquisite vocals. The narrative-led title-track leans a little closer to musical theatre, which, given Arena’s background, possibly isn’t that surprising, though the closing number ‘Songbird II’ impresses with its deft slant towards folk-rock. There’s plenty to like about this EP, and though juggling two careers can sometimes prove a distraction, on this evidence, Kara Arena will certainly be a name to look out for in 2026.

Next, we have something completely different with the new six-track EP from The Strumbellas, entitled “Burning Bridges Into Dust”. The Canadian alt-rock band, formed back in 2008, and released their debut album “My Father And The Hunter” in 2012. Since then, this two-time JUNO Award-winning band has released four more albums, helping catapult them to international fame with their brand of high-octane rock mixed with a healthy dose of pop sensibilities. This new EP finds the band at an artistic crossroads, looking to expand their sonic palette with slightly darker textures, venturing into cinematic territory with greater narrative maturity, whilst adding more variety to their trademark saccharine melodies. Pick of the six tracks here is probably ‘Hanging Out In My Head’ with its sense of urgency projected by the rhythmic pulse against a narrative that challenges self-doubt and loathing, along with ‘Skin Of My Teeth’ that initially goes some way to achieving a darker, moodier vibe before a soaring anthemic chorus sees the band return to familiar territory. With “Burning Bridges Into Dust” the band’s desire to move to a more ambitious soundscape is admirable, but in truth, to these ears, the success is limited, with the overall sound still very much lodged towards the more commercial leanings of the alt-rock/alt-country music scene, as it still wears its pop sensibilities prowdly on its sleeve, though I’m sure it will still find favour with their multitude of fans.

Bristol-based Elly Hopkins releases her debut five-track EP entitled “Animal”, which gathers together a trio of previously released songs along with two brand-new numbers. Hopkins is a seasoned performer who began her career as a jazz vocalist and, over the years, has performed with numerous bands at some of the country’s most iconic venues, including the Royal Albert Hall and Glastonbury. More recently, she picked up the electric guitar, writing songs that cut closer to the bone, full of raw emotional energy that inhabits a soundscape that draws comparisons to Sharon Van Etten and PJ Harvey. The five songs here are all fiercely personal, exploring themes of jealousy, self-doubt and imperfections, with strong narratives that evoke graphic imagery. Of the three previously released tracks, ‘Cecille’ goes a long way to epitomising Hopkins’ sound, full of attitude and snarling guitars balanced against a doo-wop harmony and a narrative inspired by an unfortunate onstage encounter with a famous singer, while of the new songs, ‘One Man Band’ is a spirited uptempo alt-rock with just a hint of pop sensibilities and country twang. Based on this highly enjoyable debut EP, it can be confidently assumed that the future for Elly Hopkins is very bright indeed.

Next up, we have the five-track sophomore EP release from Duke & Goldie, entitled “Romance And Ramblin”. The Vancouver-based duo comprise Eric ‘The Duke’ Duquette and Jena ‘Goldie’ Togo, longtime members of the roots rock band Blue Sky Miners. Following on from their well-received self-titled debut, this collection showcases the duo’s range, offering a fresh take on americana and soulful country music. The opener, ‘West End Queen’, sees Goldie take lead vocals on this free-spirited singalong number that draws inspiration from the sun-kissed Laurel Canyon vibes of the late ’60s and early ’70s, while Duke takes the lead on the grittier ‘Outsider’, that celebrates individuality in defiance of conformity. The dreamlike ‘Romanticised Cowboy’ finds Goldie’s ethereal vocals exploring the theme of love, longing and myth, while ‘Small Town Talk’ adds a level of musical fire to a narrative that takes a sharp critique at small-town gossip. On an EP where each track is a joy, the most interesting number is saved until last, with the atmospheric ‘The Low Desert’ tapping into a ’60s west coast ambience, with lush harmonies against a sweeping cosmic soundscape that perfectly advertises the duo’s range and musical aspirations. This is an excellent EP that should see the duo’s career continue on an upward trajectory and comes highly recommended.

“Shoutin’ Good Time” is the new four-track EP from the roots/americana sextet, Singing River. Fronted by lead singer Mickey James, these four songs find the band proudly drawing on the American song tradition, whilst breathing a new sense of urgency and energy into the well-trodden format. The opening number captures the very essence of a band determined to reject modern machines trying to replicate genres entirely on their own, as on ‘King Of Minoer Leagues’, they celebrate the art of curation and the human spirit while cleverly sending up the pursuit of success over a driving rockabilly backbeat. This feel-good music continues with the horn section underpinning the New Orleans groove on ‘I Thought I Heard Bob Dylan Say’, while some delightful pedal steel helps to blend the genres. Throughout these four tracks, James’ singing is impassioned and infectious, while the narratives reverberate with a mix of reflection and humour that fits perfectly with the uptempo arrangements. The title track epitomises all that’s gone before, whilst the closing number ‘Lost By The River’ adds some delightful harmonica into the mix of high octane electric guitars and percussive drive. On “Shoutin’ Good Time”, Singing River has delivered the perfect tonic for these troubling times and the onset of winter, as this high-energy roots rock is guaranteed to put a smile on anyone’s face.

The penultimate release this month is the debut five-track EP from Trish Plays Bass entitled “Bluegrass Love Songs Volume 1.”. The Trish in question here is upright bass player Trish Imbrogno, whose journey into Bluegrass has been anything but traditional. A classically trained bassist, she began studying at the age of just fourteen, going on to train under legendary players including Jeffrey Turner (Pittsburgh Symphony), Curtis Burris (National Symphony) and Missy Raines. Now, after nearly twenty-five years of orchestral playing, she has traded her concert black for cowboy boots and embraced the rhythm and raw emotion of traditional American roots music. To complete this transformation, Trish has brought aboard some of the finest women in bluegrass, including Becky Buller on fiddle, Rainy Miatke on mandolin, Dede Wyland on guitar and vocals and Murphy Henry on banjo and vocals. The EP kicks off with the debut single, ‘Think Of What You’ve Done’, which delivers some excellent banjo playing from Henry, while Imbrogno’s distinctive bass playing and lead vocals underpin this lively opener. Of the four remaining tracks, two are instrumentals, and it is here that musical prowess on show really takes off with Buller’s fiddle playing excelling on ‘Cherokee Shuffle’ while the fiery ‘Clinch Mountain Backstop’ sees the whole band step up for their moment in the spotlight. With “Bluegrass Love Songs Volume 1.” Trish Plays Bass has delivered a fine set of tunes, and it will be interesting to see what delights “Volume 2.” may have in store.

And so dear readers, we reach that point where I reveal the winner of November’s EP of the Month, and as usual, it has been a close run thing between the EP that opened this month’s article and this, “Gods Of All Things”, the new five-track EP from Chris Cleverley. Those of you with sharp memories will possibly remember me waxing lyrically about Cleverley’s last EP release, “In The Shadow Of John Devine”, which saw the light of day at around the same time last year, and which, like this new release, evolved around the coming season but delivered in Cleverley’s characteristically unconventional style. Opening with a delightfully atmospheric instrumental arrangement of the traditional standard ‘The Holly And The Ivy’, the first of three reinterpreted carols, Cleverley immediately draws on his myriad of influences, blending the warmth of the picked acoustic strings that hark back to those iconic folk guitarists of the sixties with the contemporary dream-pop epitomised by such modern artists as Bon Iver and Aphex Twins. For ‘The Falcon or Corpus Christi Carol’, Cleverley takes Jeff Buckley’s definitive interpretation and uses it as a starting point for new exploration, maintaining its message as he reworks the musical structure. The third is a rearrangement of ‘Coventry Carol’ assisted by Kim Lowings, that sees Cleverley’s guitar playing drawing on his inner John Renbourn as he effortlessly navigates the fretboard, whilst retaining the ambience and spirit of the festive season. However, as excellent as all these are, it is the two new self-penned numbers that lift this EP to a different level, starting with the almost hymnal ‘Lord Of Chaos’ and its plea to the universal forces that we might find the agency to direct our lives and perhaps find a joyous sense of freedom and release. The guitar playing is sublime; however, it is the overall soundscape that takes your hand, drawing you in close to reconnect with that innocence of youth. The other song is ‘Frost Giant’, a co-write with Molly Ryder, who is on hand to deliver backing vocals. Inspired by the giant snowcapped mountains of Scandinavia, the narrative travels much deeper as it challenges the self-imposed barriers we have constructed between one another in our frenzied, technocratic modern world. Wonderfully supported by Graham Coe on Cello, Kathy Pilkington on vocals and John Elliot on piano, synths and programming throughout this EP, Cleverley’s message here is one of resolution and acceptance that the inner conflict that exists within us all remains, whether it be artistically, emotionally, intellectually or physically, and allowing them to be just as they are. This five-track EP, with its eclectic mix of traditional and modern music, all wrapped up within a seasonal message, is a powerful reminder of the unique talent that is Chris Cleverley.