Tag Archives: roots music

Singer-Songwriter Don de Leaumont Announces “Dancing on My Father’s Grave And Other Stories” – Due Out This Fall

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Dark-Folk and Americana artist Don de Leaumont will release his ambitious new album, Dancing on My Father’s Grave and Other Stories, due out on November 14th, 2025, via Dark Waters Records. With over three decades of performing music and sharing the stage with acts such as Amigo the Devil, Mike Glabicki (Rusted Root), The Avett Brothers, and Kevn Kinney (Drivin’ N’ Cryin’) among many others, de Leaumont has crafted this project as a labor of love, and an ode to his haunted roots of New Orleans’ cemeteries, Bourbon Street dive bars, and loves won and lost. Continue reading →


ALBUM REVIEW: Jaye Jayle – Don’t Let Your Love Life Get You Down

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Jaye Jayle is effectively the solo project of Evan Patterson, and Don’t Let Your Love Life Get You Down (Pelagic Records) is his first offering since his divorce from Emma Ruth Rundle — a topic which seems to have informed both the title and the content of this new record.

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ALBUM REVIEW: Austin Meade – Abstract Art Of An Unstable Mind

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A singer-songwriter from Texas, Austin Meade’s new album Abstract Art Of An Unstable Mind is his second with Snakefarm Records. It is a concept album of sorts, with each track encapsulating a little stories of life and growing up – these episodes are broken up by the occasional short clip from the fictitious radio station LMAM. It is a varied record that gels together well, even if the radio clips do disrupt the flow somewhat – although ‘LMAM What’s Your Problem’, with its flat-earther style spin off, does raise a smile. Continue reading →


ALBUM REVIEW: Lingua Ignota – Sinner Get Ready

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Lingua Ignota’s music has always come with a certain duality as her first three albums cycled through the harshest Industrial textures and the most arresting Neoclassical Darkwave. However, that duality has seemingly been phased out with the release of her fourth full-length, Sinner Get Ready (Sargent House). The walls of noise are considerably subdued in comparison to past outings and the vocals are devoid of screams and distortion, leaving the songs to be primarily driven by sparse piano and organs with layers of melismatic cleans.

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