A new month, but yet the same old wet and windy weather, so what better way to dispel the February blues than immersing ourselves in the eclectic mix of music on offer for the Monthly EPs Round-Up. This time round, we aren’t just exploring the gamut of what the americana genre has to offer; we’re also exploring new geographical territories. So grab your passports, maybe even the suntan lotion, and let’s dive in and indulge ourselves in all that’s new in the music we love and just as importantly, discover who the lucky recipient of February’s EP of the Month Award will be.
We begin this month with the new five-track EP from Liverpool-based songwriter Euan Blackman entitled Wildcard. Blackman’s career has been quietly building momentum in recent years, with a string of EPs and singles released during 2024 earning him support from BBC Radio 6 Music, BBC Introducing, Billboard, and Time Magazine. This new EP captures Blackman delivering his most intimate, experience-driven songwriting to date, dialling down on both the emotional and sonic aspects, whilst still maintaining an expansive ambience. With an arrangement that weaves slide guitar and harmonica with banjo to create a warm, familiar landscape, Blackman’s confessional songs draw on an eclectic musical mix, from luminaries such as Gram Parsons and Lucinda Williams to the more commercial leaning of The 1975, blending americana textures with modern indie-pop sensibilities. Of the songs here, the two previously released singles, Better and Forgive, both mine a similar field, with infectious melodies and hypnotic rhythm sections, all supporting a narrative that explores themes of moving on. Elsewhere, the highly energetic Girl reveals Blackman’s pop leanings, though this is counterbalanced by both Jane and Mine, the latter only available on the cassette version. Here, the arrangement is more stripped back, helping to create a vulnerable refrain that allows the raw emotion of the narrative to penetrate. On the evidence of Wildcard, 2026 could well be the year Euan Blackman breaks into the big time.
From here we travel to San Diego, and the four-track debut EP from Rebecca Sykes entitled face to face. Having cut her teeth playing clarinet and piano as a child, Sykes turned her attention to the drums, becoming a session player for many local bands. However, it was only after the onset of COVID and a deterioration of her mental health that she discovered that songwriting was the one true outlet, and having overcome her initial shyness, played her first gig to friends last year and since then hasn’t looked back. Recording this four-song suite at Satellite, Studio West’s branch in San Diego, under the watchful eye of producer and engineer Ryan Finch, Sykes, along with a few assists from Finch, played every instrument on the EP herself. Opening with the crystalline, moody vignette of I Am (Not) and its dense guitar strumming that deftly captures the overwhelming frustrations of everyday life, it sonically draws comparison to the work of Lucy Dacus. The following song, When I Leave, offers a highly sensitive message inspired by becoming the recipient of unrequited infatuation, where the slowed-down strum of the acoustic guitar conjures up memories of progressive rockers Pink Floyd’s doom-laden 1977 album Animals. The distinctly brighter Your Mind with its deceptively sweet refrain provides the perfect juxtaposition before Dysmophia and its finger-picked alternate-tuned acoustic guitar creates a gothic folk vibe that softens the edgy vocal delivery. With face to face, Sykes has created an indie rock EP that delivers enough intrigue to suggest that she may well be one of the breakthrough acts of 2026.
Next up, we have the seven-track debut EP from Bye Lily entitled Voienotes. Born in Rennes, Brittany, 24-year-old Samuel Krishnan is a French musician and the creator of the project Bye Lily. With a father from India and a French mother with a German background, Krishnan spent his early schooling in Avranches before relocating to England in 2016. Having grown up listening to his parents’ album collection that included Fleetwood Mac and The Beatles, he started playing the guitar and writing songs in 2019, releasing his debut single, Redbridge, in 2024, which is included as the closing track on this EP. The name Bye Lily was chosen to represent a personal and artistic rebirth, and Krishnan currently resides in Sudbury, Suffolk, UK, where he has been actively performing, garnering high praise in the local press. The EP opens with the intriguing Arjun Krishnan, composed of snippets from newsreels recounting the unexplained disappearance of the title character. There is no explanation regarding a connection to the story and the artist, though the same Christian name does encourage assumptions here of a tale without a happy ending. Elsewhere, the songs I Know and River Stour offer a more lazy, pastoral flavour, both with a delicate rhythmic quality and wistful delivery, while the latter includes a vocal contribution from rapper Onoe Caponoe that somewhat alters the ambience. Krishnan’s dreamy poetry permeates throughout, perhaps highlighted best on First Day of Winter, where the brightly picked strings of an acoustic guitar are complemented by a saxophone. There is a charming, fluid, difficult-to-categorise quality that flows through each track on Voicenotes, and it will be fascinating to see which direction Bye Lily’s future work will take.
Remaining in the East Counties of England, next we have Ellie Walker and her new four-track EP entitled The Balance. Walker’s recording career has really taken off over the last three years, releasing the EP I Know, followed by a highly acclaimed album Sink Or Swim, as well as a Christmas single, all helping to build a growing support from BBC Radio. Years of performing live have helped hone her own sound with an easy, warm vocal delivery that effortlessly connects with the emotional vulnerability of her poetry, immediately drawing the listener in. Musically, the arrangements are rich, combining highly spirited chamber-pop with down-to-earth indie-folk, drawing inspiration from the greats of female confessional singer-songwriting, such as Carole King, Joni Mitchell and Norah Jones. This new EP finds Walker’s songs narratively navigating a broad range of subject matter, from the challenges of family life, mental health, romantic reckoning, and forgiveness. The title track Balance kicks the EP off, opening with what sounds like an enthusiastically strummed mandolin supporting Walker’s energetic vocals, before the chorus explodes into a kaleidoscope of musical colour, horns and keys, in mutual celebration, on a song high on pop sensibilities that is as infectious as it is immediate. The remaining three songs are more intimate, piano-led, and narratively thought-provoking, with Walker’s ethereal vocal delivery perfectly capturing each emotive reveal, of which The Old Oak is particularly favourite. With The Balance, Walker has delivered another fine set of songs which should see her career continue on an upward trajectory.
Now we are going all the way to the Caribbean with the new five-track EP from Viren Neel, Five River Rock. Neel is a Trinidad-born singer, songwriter, and composer whose philosophical lyricism, retro aesthetic, and fluid blend of soul, folk, pop, alt rock, and Caribbean fusion have marked him out as one of the region’s most compelling emerging artists. Having seen his debut single Change reach the upper reaches of the charts on its release in 2020, Neel has steadily built a reputation for music that is both timeless and deeply introspective. The five tracks on this latest release effortlessly transport the listener to the Caribbean islands, with subtle calypso rhythms, emphasised by the staccato chords from an electric guitar, supplying the conduit to Neel’s warm, soulful vocals and emotive narratives. Opening number, Dearest Madeleine, appears twice, offering two different mixes, one for the rainy season (something we know way too well in the UK currently), with the other unsurprisingly being described as the dry season, which also has the additional bonus of featuring Claire Wright on backing vocals. Both versions imbue an infectious dance beat whilst namechecking Stevie Nicks in the narrative. The second song, Glory, subtly slows the pace to that of waves lapping on the shore, while Veni Mange commits to the rhythmic heartbeat of the island, and the Jamaican folk music known locally as ‘mento’ that greatly influenced ska, the echoes of which can be heard on this track. Closing number Reds & Blues lifts the pace with a greater percussive impact and vocal contribution from SensaMotion, which collectively creates a magical ambience that lingers long after the final beat has drifted off into a vibrant sunset. With Five River Road, Viren Neel has cemented his position as a songwriter’s songwriter, valuing content over fashion, while combining the folk music of his Caribbean homeland with emotive narratives and soulful vocals to produce a most enjoyable EP.
Okay, time to dig out that passport again, as we travel back to Europe for Rouge, the new four-track EP from Paris-based Lena Morris. Having been born in the Belgian capital, Brussels, Morris spent her early years between Barcelona, Normandy, and, most significantly, Hong Kong, where, after teaching herself to play the bass guitar, she cut her teeth playing in local clubs. Having expanded her repertoire to include guitar and piano, Morris recorded her first self-produced single before relocating to Brighton, UK, to study composition and production at the University of Sussex. The following years saw Morris honing her blues-rock sound, releasing four singles and performing with the group the Undead Musicians Club Collective, though this was put on hold in 2020 due to the pandemic, during which time she wrote the songs that would eventually become her debut EP New Blood, released the following year to enthusiastic reviews from the UK music press. Relocating to Paris, Morris joined local band Namaspamus before returning to the studio last year to record this latest offering. Rouge finds Morris refining her sound, offering a refreshingly contemporary take on the 1970s blues-rock idiom, musically inhabiting the space between the jagged rhythmic sound of Samantha Fish and the more soulful leanings of Elles Bailey. Of the four tracks here, the opening track, Buying A Donkey, is possibly the most intriguing, with its infectious groove and spikey percussive pulse ably supporting Morris’ brooding poetry. The following number, Red, is also a worthy contender, with a disco vibe that draws comparisons to Nile Rodgers’ work with 70s legends Chic, showing Morris’ range, and suggesting she will be a worthy addition to the current crop of female blues-rock guitar, singer-songwriters.
The six-track Change Is Hard is the second solo EP from Nashville-based multi-instrumentalist and singer-songwriter Kirby Lyle. Described as a heartfelt protest record built for everyday people living through extraordinary times, the music blends elements of folk, alternative and americana. A veteran of over thirty years in the music business, Lyle draws heavily on the eclectic sounds of the late 1960s, mixing the anti-establishment and anti-war protest songs of the period, replete with infectious harmonies, with the more experimental, combining banjo with saxophone and fiddle to create a sound uniquely its own. All six songs here are narratively led, confronting the issues of the times we currently live in, such as injustice and the lack of equality, whilst urging for courage and integrity. Opening number, The Thinking Man, focuses on life and relationships supported by a kaleidoscope of sound, while the compassionate delivery of the title track is most definitely uplifting. The additional vocals and harmonies on Joy mark it out as a highlight, while the subject matter behind Equal is commendable if a little trite. The best song here by a long way is the closing number Wind Chimes, which, with a greater urgency and intensity in the vocal delivery, along with the collective contribution of some of Nashville’s finest, which throughout the EP has included Kyle Tuttle (banjo), John Mailander (fiddle), Sav Madigan (vocals/mandolin), Maya De Vitry (vocals/fiddle) and Erica Nalow (saxophone), is quite sublime. With Change Is Hard, Lyle has delivered an enjoyable set of songs that simultaneously embrace mankind’s finer qualities whilst mourning our collective failures, and though at times the poetry within the message is oversimplistic, one could even argue, naive, there is no doubting either its sincerity or the quality of the musicianship.
Next up, we have The Water Chorus and their new four-track EP entitled Scorn. This London folk quartet, consisting of Jack Saville, Ali Lawrenson, Caitlin Chalmers and Sophie Grenfell, blends the esoteric with the theatrical on their first release featuring this full line-up. Having enjoyed a year of major musical milestones, including supporting folk legend Martin Carthy and headlining at London’s iconic Green Note venue, the band look to keep the momentum going with an EP that aims to capture the raw energy of their live performances. The band started life around the folk clubs of London shortly after the pandemic, quickly becoming a mainstay of the capital’s youthful folk revival, combining the richness of their four voices with fiddles, banjos, guitars, bouzoukis and concertinas. Each of the songs here is led by a different member of the band, with the opening number We Be Soldiers Three, featuring Grenfell, a rambunctious 17th-century drinking song shot through with dark innuendo, her haunting vocals identifying with carousing soldiers traumatised by war. Larenson’s theatrical performance on The Maid and the Palmer taps into the band’s punk leanings, while Chalmers soaring Glaswegian brogue is a perfect fit for the lesser-known Rabbie Burns poem Willie’s Wife. A possible highlight of an excellent quartet of tunes is the mournful The Rocks Of Bawn, the bittersweetness of the poetry consummately captured by Saville’s raw vocals. With Scorn, The Water Chorus have well and truly positioned themselves at the top table of the current folk music scene.
Hailing from the heart of New Jersey are Tiny Cities, who release their most recent set of recordings with this four-track EP, titled Beginning Of The End, which follows their debut release, The Wind Can Be So Cruel, which saw the light of day last year. Comprising Melissa Anthony and Dennis King, these new songs find the duo leaning heavily into their singing and songwriting strengths, bravely tapping into their shared vulnerabilities with quiet acceptance. Recorded in partnership with producer multi-instrumentalist Eric C. Sanderson at Harbor Studios, Red Hook, Brooklyn, this excellent EP showcases the benefits of spending last year on the road, with a tight togetherness and confidence in both their songwriting and vocal delivery, especially their harmonies. Each song here is a keeper, from the infectious opening number, Quiet Take Two, to the stunning Body Cast with its uplifting refrain, through to the equally delightful Greens and Blues, where Anthony’s vocals excel. The vinyl version of the EP comes with an extra track, a breathtaking cover of the old Skeeter Davis classic The End Of The World that again turns the spotlight on Anthony’s stunning vocal delivery. With The Beginning Of The End, Tiny Cities have well and truly knocked it out of the park, and this EP comes highly recommended.
Next, we have Only The Brave, a six-piece band from South Oxfordshire, UK, and their five-track debut EP release, entitled Stare Down The Night. The band’s self-penned americana songs cite influences ranging from Stephen Stills to Jamestown Revival, Midlake and Waxahatchee, though to these ears there is, unsurprisingly, a British lilt that occasionally hints at the short-lived folk-rock supergroup Fotheringay. The band are fronted by Steve and Tara Eyre on vocals, with Steve also doubling up on guitar as well as writing all the songs here, while the remaining line-up is completed by Jim Arbuckle (mandolin, percussion), Chris Baines (drums), Ian Salisbury (keys), and Ian Wild (bass). The story-songs here revolve around topics of hope, escape, defiance and damned romance, while the weaving harmonies add substance and colour to intriguing narratives. Among a fine collection of songs, the title track that opens the EP is a particular favourite, the poetry and vocal delivery slightly reminiscent of Richard Thompson and Linda Thompson, while Time Is A Unruly Child offers shades of an uptempo Nick Drake. The possible highlight here is the brooding, Hurricane, though to be fair, everything on Stare Down The Dark is worthy of further investigation, suggesting that Only The Brave are a band with a very bright future, and this EP again comes highly recommended.
Situated in a different part of americana’s musical orbit comes Ty Segall & The Muggers, with their new five-track EP entitled Live At The BBC. Originally recorded back in 2016 for the Marc Riley Show, these five songs find the prolific Segall and his band unleashing all the free spirit of their infamous tour to a select BBC audience. Segall is in fine voice, full of punkish spontaneity, ably supported by the gloriously guttural and blown-out sonics of his band, collectively delivering an explosive performance that constantly balances on the edge of self-destruction. From the jagged rhythmic chords of the opening track Squealer, to the heavy riffs of Emotional Mugger and finally the manic cover of The Doors’ classic LA Woman, the pedal remains firmly on the metal throughout. A personal favourite is probably the heavy psychedelia of Breakfast Eggs on an EP that musically refuses to compromise, unapologetic and compelling in equal measure. The time has long passed since the multi-talented Segall needed to provide evidence of his musical worth; nonetheless, with Live At The BBC, one is unceremoniously reminded that he is indeed the high priest of 21st-century garage rock.
And finally, we unveil February’s EP of the month, the accolade of which this time round goes to Sam Carter and his six-track EP entitled The Oakham Poacher. This new release is Carter’s first solo collection of songs from the folk canon, some caught on record for the very first time. For over 15 years, he has been stirring audiences from Camden to Canada, from major festivals to intimate clubs, his expressive fingerpicking leading Bellowhead’s John Boden to describe him as “the finest English-style fingerpicking guitarist of his generation”. Following on from his highly acclaimed album Silver Horizon (2024), this new offering finds Midlands-born Carter returning to his geographical roots, having grown up in Rutland and attending school barely half a mile from Oakham Castle, and the surrounding land that provides the setting for the title track. The Oakham Poacher, the true story of the Perkins brothers, who in 1833 were tried and hanged for the shooting of a gamekeeper. Whether it is his familiarity with the history and landscape of this traditional tune or simply his songcraft, his rendition resonates with a level of gravitas rarely heard. Similar praise can be attached to the accompanying tracks here, whether it be the intensity of the popular Now Is The Cool Of The Day, or the guitar playing on Tubal Cain, which is, as it is throughout, quite breathtaking. Carter is also no slouch when it comes to the art of singing, with no less than Ivor Novello winner Nitin Sawhney praising his “killer voice”, of which ample proof can be found on tracks such as Long Time Travelling and The Light Guitar. The Oakham Poacher is a worthy winner of February’s EP of the Month Award, while Carter will be touring the UK during the coming weeks, and I, for one, can’t wait.
