Welcome back, dear readers, to the first ‘Monthly EPs Round-Up’ for 2026. Now, although we are already well into January, our selections this month comprise EPs released towards the end of last year that arrived on my desk too late for review. However, this bumper crop includes a wonderful eclectic mix of delights for you to enjoy, and as usual, discover which of these new releases will be the first winner in 2026 of the coveted ‘EP of the Month’ award.
So, let’s kick off 2026 with something a little bit special, and the debut six-track EP from Paul Armer & The Dawn Chorus entitled “Heartaches and Mistakes”. This UK outfit is no stranger to the folk scene, making waves on the bluegrass circuit and wowing audiences up and down the country for the last two years. Frontman Armer has gradually earned himself a reputation as a performer who can deliver, with a passion for bluegrass that would eventually bring him into contact with the three musicians who make up The Dawn Chorus. Renowned banjo player Chris Lord can already boast of touring with US artist Gangstagrass, just one of many musical collaborations on his CV. The name Noel Dashwood will be familiar to many readers, as he is regarded as one of the finest Dobro players this country has produced. He is perhaps best known for his work with Alden, Patterson and Dashwood, and more recently with UK Country legend Hank Wangford, with whom he released a duo album. The final member of this quartet is multi-instrumentalist Pete Thomas, who has previously worked with Worry Dolls, Megan Henwood and The Vanguards, to name but a few. Collectively, the band encompass the very best of the bluegrass genre, with the title track to the EP that opens proceedings immediately drawing favourable comparison to the classic albums by Dick Dillard and Gene Clark, combining powerful songwriting with virtuosic instrumental talent. The quality continues through the remaining five tracks, from the infectious melody and reflective narrative of ‘There She Goes’ all the way to the achingly emotive closing number ‘Something That Will Never Be Mine’. With “Heartaches and Mistakes”, Paul Armer & The Dawn Chorus haven’t just delivered six songs of the highest quality; they have created an EP that transcends the bluegrass genre, displaying a songcraft that should, if there is any justice, see them reach a much broader audience. This EP comes highly recommended.
We maintain the high-quality level with our next offering, a four-track debut EP entitled “Watching Pines” by Jason Bales. Being one half of the songwriting duo behind Durham, NC, americana/rock’n’roll band The Yardarm, Bales’ vocals have often been described as somewhere between Roy Orbison and Dwight Oakham, though to these ears, his soulful delivery draws comparison to the aforementioned Gene Clark. Influence-wise, he cites such usual suspects as Townes Van Zandt, Nick Drake and Bob Dylan, along with early country blues and rock’n’roll, and though none of this is immediately apparent, the quality of his guitar accompaniment, distinctive melodies, and thoughtful narratives enable these four songs to comfortably inhabit a similar musical landscape. Each track impresses, with a clear, uncluttered musical identity, thanks to a sparse yet full production by Yardarm bandmate JJ Westfield, which works as the perfect conduit for the narratives that deal with a mixture of anger, loss, and the need to move forward. These four songs, of which the closing number ‘Crater Of Diamonds’ is a marginal favourite, were all written back in 2020, during the early days of the pandemic, but if this EP is anything to go by, one can only hope that Bales decides to continue with this musical direction for “Watching The Pines” is a thoroughly enjoyable listen and again comes highly recommended.
Next up, we have the debut EP release from Taylor J Campbell, entitled “Mexico”. Campbell hails from Lancashire, UK, and is credited with writing and producing the four tracks that make up the EP, describing them as a collection of folk ballads and lo-fi modern country that inhabit a similar musical landscape to Cut Worms and Kevin Morby. Those comparisons, in the main, are a fair description, with the sparse arrangement based primarily around an acoustic guitar and vocal, while some excellent use of an electric guitar helps to add a range of colour and depth to each composition. The title track opens proceedings and is probably the strongest number here, with Campbell’s distinctive, hypnotically languid vocal delivery immediately connecting against a gently strummed acoustic. The relatively more energised ‘Cruel World’ follows with some interesting accompaniment, and though the instrumental ‘Closing Time’ highlights Campbell’s fingerpicking skill, in truth, the melody meanders without a destination. The final track, ‘Dead By Spring’, is far more interesting, both musically and narratively, and, along with the title track, clearly shows that Campbell has something to offer, and it will be interesting to see how he builds on what is a very promising debut.
Rising indie-folk duo Taylor & Girish hail from Oxford, UK, and have just released their new four-track EP entitled “Hollow Wood”. This latest offering looks to build on their debut EP “You Never Can Tell,” which saw the light of day last year, with a warmer, fuller sound, while still maintaining the intimacy of their earlier work. Each song here explores the unique inner transformations that come with the seasons. ‘Different Days’ draws its inspiration from spring and its sense of restful renewal, while the soul-searching ‘All That I Have’ reflects the expanse of summer. The title track represents autumn with its reflective melancholy and mysticism, while all the loneliness and longing of winter consume the delightful ‘Julian’. Throughout these four songs, written, recorded and produced by the duo, one is constantly aware of the quality on offer. The exquisite vocals are matched by the excellent acoustic guitar playing, and though the arrangements are sparse, there is an ambience that subtly embraces the listener, making excellent use of space, light and shade to create something that sounds far more expansive than the sum of its parts, acting as the perfect vehicle for the dreamscape poetry. If one were looking for a touchstone, then possibly Vashti Bunyan, in a spiritual sense, as it explores the passing seasons and the cycle of time. With “Hollow Wood”, Taylor & Girish have taken their sound to a new level, one that should see the duo’s career continue on an upward trajectory, and comes highly recommended.
Next up, we have Glasgow-based Adam Thom and his new six-track EP entitled “Through the Candle Smoke and Burning Sage”. Originally from Aberdeen, the twenty-three-year-old songwriter delivers americana and bluegrass music in a style that belies his relatively tender years as he walks the listener through his experiences of loss, shifting relationships and location in pursuit of a musical career. Musically, the songs here have a strong Appalachian flavour, while Thom’s poetry draws heavily from the beautiful scenery and rolling hills of home in the North East of Scotland, which together concoct an exhilarating mix that ebbs and flows from song to song. On the more nostalgic numbers, such as ‘Paint Upon A Love Song’ and the excellent ‘Lonely Hill’, Thom yearns for that which he has left behind, while a strong americana influence accompanies songs such as on the opening track ‘If You Have Changed Your Mind’ where banjo and dobro spark off each other only to be be upstaged by the inclusion of some exquisite fiddle and accordion playing and ‘The Race Is Always 10/1′ which again excels in the instrumental department. ‘Song For June’ is something of an outlier to the rest of the songs, having been recorded separately, around one mic, in one take, with this raw unfiltered approach perfectly capturing the incredible musicianship of the band that includes some of Scotland’s finest players such as Niamh Corkey, Timmy Allan, Roo Geddes, Scott McPherson, along with banjo legend Red Canyon, whose banjo once belonged to Billy Connolly. Underpinning all this quality musicianship is Thom’s songwriting, with both a vocal delivery and sagacious narrative that would suggest someone far more advanced in years. However, regardless of numbers, Thom’s sophomore release is an absolute winner, guaranteed to blow away the January blues and put him at the very forefront of the UK’s bluegrass scene.
Following on from their debut album “The Ragged Edge” that saw the light of day in 2024, TangleJack are back with a four-track EP entitled “The Ballad Of Harold Camping”. The duo are made up of John Paul Davies and Duncan Leigh, who have perfected their unique sound of tight two-part harmonies and intricate, interweaving, acoustic guitar lines over a thirty year partnership, that has seen them grow from arty outsiders of the brass bands of the South Wales Valleys, through their teenage rock band era and jazz and classical meanderings to return to their folk-rock roots. In a deliberate attempt to cut loose on a collection of songs with a greater sense of levity compared to the weightier material that appeared on their last release, the four tracks here offer a high level of lyrical wit and guitar ingenuity. The opening number, ‘Needs Must When The Devil Drives’ has a distinct americana bent, with Dylanesque lyrics and some fancy fret-work from Leigh, while ‘Can Man Do’ emphasises the fun aspect of the EP, with Leigh delivering some tasteful slide guitar. The title track takes a satirical swipe at the prophetic claims of the American Christian radio broadcaster, served up with a declamatory vocal delivery full of irony. Closing number ‘Bad Weather Baby’ sees the duo spice up the arrangement with some traditional jazz guitar lines, with a lively vocal performance from Davies. With “The Ballad of Harold Camping”, TangleJack have succeeded in delivering a highly enjoyable set of songs that should see their audience grow beyond their home territory.
Mildred is a four-piece band from Oakland, CA, who, having released their debut EP “mild” earlier this autumn, return quickly with their follow-up, a five-track collection entitled “red”. Each of the band members contributes equally to the singing and songwriting, and this release follows quickly on the heels of a successful debut UK tour, which included shows in London and Bristol, resulting in this US outfit garnering healthy praise from the music press. Their sound revolves around a twin-guitar, bass, and drums setup that inhabits a lo-fi indie vibe, gentle in pace but laced with beguiling harmonies and poetic narratives. This latest release finds the band’s writing, displaying a more angular approach, as opposed to the somewhat softer pastoral mood of their debut, immediately emphasised by the opening number ‘Sauvies Nude Beach’ with its hypnotic percussive beat, and the jagged rhythms from the guitars offering the juxtaposition to the languid vocal delivery. The deceptively subtle energy level is maintained through the following song, ‘Carry On’, before personal favourite ‘Trailer Hitch’ offers up an intriguing narrative infused with a world-weary delivery. In contrast, ‘Grown Boy’ is relaxed, with a deft hint of Bill Callahan in the vocals, before the EP closes with a respectful cover of Lucinda Williams’ ‘Those Three Days’. With “red”, Mildred continues to cement their reputation as one of the best new bands on the scene, and a new double CD/cassette combining both their EPs is also now available.
Next, we have something truly sublime in the shape of the debut four-track EP from selina feliciano (deliberately lower case) entitled “FROM EVERY DIRECTION” (somewhat confusingly all uppercase). A local to the San Francisco Bay Area, feliciano draws her inspiration from processing the dualities of twenty-first-century living: the good and the bad, the built and the natural, the present and future. The result is four songs that conjure the freshness of a gentle summer breeze, rooted in memory and resistance, coupled with a steely determination championing an Earth we’ve almost forgotten how to listen to. Opening with ‘The Prayer’, this song perfectly captures the spirit and musical landscape of the EP, built around the gentle caress of the percussive beat that creates the space for the gossamer-like vocal delivery from feliciano, accompanied by delightful choral support. There is an undeniable soulful/gospel vibe throughout, which, with the intimacy of feliciano’s delivery and some delicate colour added by the clarinet, marks ‘Work Of Art’ as another beautiful number. There is an underlying jazz flavour to ‘Desert’s Calling’, while the closing number ‘Souvenir Echoes’ draws comparison to Joni Mitchell’s eighties period, particularly in the vocal phrasing and reflective openness of the narrative. It could be argued that the songs here inhabit a musical landscape more akin to soul and jazz than that more consistently associated with the americana genre, and yet, americana is a broad church, and music this beautiful, delivered with such a powerful message, needs to be heard now more than ever, and deserves the widest audience.
Suffolk indie-folk newcomer Samuel Taylor is next up with his four-track debut EP entitled “Lost & Overgrown”. 2025 has proved to be a pivotal year for Taylor, emerging from nowhere with a collection of perfectly formed, emotionally resonant songs that suggest a maturity way beyond his relatively youthful twenty-three years. Taylor’s sound stems from a somewhat isolated childhood in the countryside, and after learning the banjo from listening to his father’s bluegrass records, he switched to guitar and quickly found his voice. A period of study followed, taking a contemporary music degree, followed by session work where he discovered artists such as Bear’s Den and Johnny Flynn. Earlier this year, Taylor played his first songs to Suffolk-based musician and producer Jesse Quin, who promptly signed him to his ‘No Roads Records’ label. The opening number, ‘A Thousand Times’, instantly sets the scene, evoking the ethereal tenderness of Antony & the Johnsons and Sufjan Stevens, and yet maintaining a sound distinctly his own. Second song ‘I Just Hope’ unfolds under a warming, finger-picked guitar, surrounded by ambient swells of distant strings and minimal percussion that helps to emphasise all of Taylor’s heartfelt, melancholic sensibilities. The following number, ‘Little World’, was also the first single, and here all of Taylor’s vocal fragility is laid bare, which, along with the intimacy of the narrative, helps to create a musical safe haven, regardless of how troubling the theme. In what seems a considerably short space of time, Taylor has quickly garnered a reputation for his ability to write songs that feel both familiar and yet entirely authentic within his own style of indie-folk, and one can safely assume that 2026 will see his star continue in the ascendancy.
Our penultimate EP comes from Matthew Ryan Jacobs and his self-titled five-track EP. Jacobs is based in Kitchener-Waterloo, Southern Ontario, and started out playing in rock and alternative bands throughout Ontario in the 2000s. In 2019, he moved his focus to a solo career, creating music he was more passionate about, that blended elements of folk, delta blues, soul, and rock. A debut EP was released in 2021, followed two years later with his sophomore EP entitled “The Trouble In Me” that delivered a more mature, honest, and refined version of his songwriting. This new self-titled EP offers a collection of songs written and recorded during the last year and finds Jacobs mining a slightly darker seam narratively than previously, with a more adventurous musical arrangement. The EP kicks off with ‘A Better Feeling‘, which finds Jacobs leaning towards his alternative roots with his strummed acoustic guitar and direct vocals that conjure up memories of nineties indie icons The Verve, before the chorus brings an uplift of musical intensity and emotive vocals that sweeten the sound as it builds to a climax, complete with an impressive guitar solo. The second number, ‘Peace Of Mind’, follows a similar path, highlighting a greater sense of lyrical depth from Jacobs’ narrative, more expressive, more open, and braver than on previous releases. Personal favourite amongst a very enjoyable collection of songs is the closing track ‘Happy For Harry’, where Jacob’s reflective poetry is at its most expressive, accompanied by some delightful guitar playing. In recent years, Canada has proved to be a proverbial hotbed for quality americana music, and with this self-titled EP, Jacob’s more than justifies his place alongside some of his Country’s finest, and this EP comes highly recommended.
Well, with such a selection of high-quality music, the winner of ‘EP of the Month’ was always going to have to be a little bit special, and that is exactly what “Slouching Towards Huntsville”, the new six-track EP credited to Kevin Kadidlo/David Hanners, is. This new release follows on from “Llano Estacado”, an EP which came out early last year, solely under Hanners’ name and was favourably reviewed in our April ‘Monthly EPs Round-Up’ article. In fact, this latest offering picks up from where the previous one left off, travelling down dark highways and dimly lit streets, continuing to explore the empty landscape of the Texas Panhandle and the dark hours of nighttime driving, to reveal the hidden corners of the soul. Hanners is originally from the corn and soybean fields of East Central Illinois, but now lives in Manchester, England, while Kadidlo is a singer-songwriter, guitarist, living in Hudson, Wisconsin. The six songs here speak of the restlessness of the roads, a woman fed up with abuse, a two-bit thief who pulls one score too many, and the bitterness of living in an era when masked immigration agents patrol the streets. Hanners’ songs always feature vibrant characters; his writing and vocal delivery regularly being compared to such luminaries as Steve Earle, Ray Wylie Hubbard, and James McMurtry, a craft long learned, having spent most of his life working as a reporter, during which time he was awarded a Pulitzer Prize. The opening number ‘Pay As You Go’ immediately sets the scene, the wind howling across the desert creating the ghostly atmosphere, quickly accompanied by some delightful arpeggiated guitar playing before the vocals come in with the line “Don’t follow me down this road, I ain’t quite up to speed on my direction”, and as the song builds, the addition of some exquisite horn playing helps to complete the Tex-Mex vibe. Elsewhere, on an EP where there is no weak link, the title track, along with ‘Blood and Blue’, is the epitome of storytelling in song, while the closing number, ‘Canadian, Texas’, conjures memories of the late-great David Olney and simply leaves you wanting more. With “Slouching Towards Huntsville”, Kadidlo and Hanners have set the bar incredibly high for the year to come, and it is a worthy winner of January’s EP of the Month Award.
