Minimal Compact - Deadly Weapons

Rami Fortis, Berry Sakharof, Samy Birnbach, Max Franken, Malka Spigel  

Minimal Compact were an Israeli band (aside drummer Max Franken) associated with the post-punk movement, especially with what is regarded as their most experimental 1984 album 'Deadly Weapons'.  I discovered this album during another recent discovery of the band Opus Kink (from Brighton), after a user-comment was made on their Youtube single for sounding similar to this band (also recommend checking that full-length debut album out, especially for the referenced single, "Come Over, Do Me Wrong" as well as "Crucify!").  After listening to the comment-linked single, "Next One Is Real" (video below), I sought out the album and discovered one of the more weirdly infectious and unique post-punk/new-wave hybrids I've heard.  "Next One Is Real" garnered them some radio play in US college radio stations and abroad, and alongside their following releases made them regarded as one of the only Israeli bands who had a successful touring career outside of Israel or "made it" during that period of the 1980's.  They however never did play a show in the USA.

They initially moved to Amsterdam early in their career (before 'Deadly Weapons'), but many moved back then and since, and have played extensive reunion shows exclusively in Israel (aside one reunion show in Poland in 2012) since 2008-2019.  The documentary on the band linked below will describe and showcase the band's history better than I can, which the title is a reference to their following 1985 album title 'Raging Souls'; with the documentary being released in 2002 after they were effectively done making studio albums (they however released 3 albums since 2003, only one of which features a new song, on their 2019 finale, 'Creation Is Perfect').  

Part of what makes the album work so well for me is the distinct output from the 3 singers: Rami Fortis (whose solo album 'Plonter' in 1978 is why he's regarded as one of the pioneers of Israeli punk -- also the majority of his solo releases were sung in Hebrew), Samy Birnbach (the primary singer on breakout track "Next One Is Real"), and Malka Spigel, the solo female singer/bass player in the band whose voice was a big reason they shifted to more pop-oriented dynamics later in their career.

I won't pick this apart track by track, and a lot of the songs on the (re-release) album feature remixes/remasters of unknown recording dates (to me, anyways), some of which were songs originally not on this album but were on others (such as "Babylonian Tower remix", with the original initially on their 1981 debut).  Remixes/remasters aside (like multiple variations of "Next One Is Real"), the original 9 tracks on this album have ear-wormed into my brain, largely because the album covers a wide dynamic range, further admirable that by this point in their career the whole band basically conceded guitarist Berry Sakharof was the only one who was a "musician" or was classically trained.  In this circumstance I think the "imperfection" of a lot of it is what gives it so much of its character, both to the punk and pop elements that make it somehow rigidly refined.  To re-iterate I really suggest watching the documentary below put together by Nathan Mandelbaum in 2002, to better understand the band and the finer details.  I'm also excited to check out some of their other albums both before and after 'Deadly Weapons' released...the only thing I'm puzzled by is their 2019 album being absent from their Bandcamp.

Bandcamp

Documentary

Sweet Megg - Massive Negroni

Sweet Megg (Meaghan Farrell) is a country/blues/jazz singer/guitarist who got her start playing shows around Brooklyn.  At 22 she moved to Paris to study jazz vocals, while also playing gigs across the city before coming back to New York.  Soon after she released her debut jazz album 'Under the Moonlight' in 2020, leading to a record deal based in Paris, after which she relocated to Nashville and released her first original album, 'Christine's Daughter' in 2022 (the majority of her work seems to be re-imaginings of older jazz/country/swing songs and standards, often swapping their respective genres around).  This led to two more albums in Nashville, and eventually to her touring globally with viral sensation Postmodern Jukebox from 2021-2023 (if you were on Youtube it's likely you saw one of their covers, eventually featuring a revolving door of featured musicians either doing renditions of old songs or turning modern songs into genre mashups).

Her (quartet) latest album, 'Massive Negroni' from May 2026 starts and ends with two original songs, "Right or Wrong pt.1&2", and the rest of it is covers ("re-imagining" might be more apt), such as Tom Waits, The Ink Spots, Duke Ellington, to deeper cuts like Kansas Joe McCoy.


Admittedly I'm a fairly opinionated person when it comes to covers for multiple reasons, both positively and negatively, but as this album was the introduction to her music (slight air quotes), I think it weighed more on the positive side, both by not attempting one-to-one covers and just the overall refinement of her band and voice.  Also because I'm a sucker for old timey tunes and jazz vocalists keeping that spirit alive in the "modern" era.  Without seemingly patronizing this any more than I am, probably the biggest praise I can give this album is that it has me excited to check out her original music.  I believe 4 of her 7 full length albums feature original songs (she's also done lots of compilations), so I'm excited to check those out, as well as more of her interpretations and renditions with her fellow musicians.

Bandcamp

 

Sparta - Cut A Silhouette

This.is.Sparta 

Sparta is from El Paso, Texas.  The band formed in 2001 after its three founding members (Jim Ward/guitar/vocals, Paul Hinojos/guitar, and Tony Hajjar/drums) split from post-hardcore group At the Drive-In, while Cedric Bixler-Zavala and Omar Rodríguez-López returned to their side-project De Facto, and shortly after formed The Mars Volta.  While many fans and members drew initial lines in the sand (*Cedric recently 'liked' an Instragram post of Jim's on the release of the new album, which was nice to see), I was always a fan of both/all projects.  As my blog title would suggest, TMV had a far bigger impact on me, but I was always rooting for Jim Ward and Sparta, who released back to back amazing albums with 'Wiretap Scars' and 'Porcelain' in 2002/2004.  While those are my favorites (also their only 2 albums including all 3 founding members), I would confidently say I think the band has been consistent in the quality of their albums -- including Ward's solo releases (which proliferated during an off/on Sparta hiatus beginning 2008 following their 3rd album, 'Threes', the last album Tony Hajjar contributed drums).

The band in its current iteration is a three-piece, with the newest addition being drummer Neil Hennessy in 2025 for the recently released new album, 'Cut A Silhouette', alongside Jim Ward (guitar/vocals) and Matt Miller (bass/backing vocals since 2001 following the brief tenure of bassist Erick Sanger and a constant contributor/member throughout).  

"Mouthbreather" is probably my standout favorite on the album, but the entire album is solid from front to back, and the ten tracks clocking in at 33 minutes will likely inspire repeat listens to fans new or old.

Bandcamp

H E X - II

Latest release from H E X (August 2025), the follow up to their debut album in 2018 after a 7 year gap.  This new-ish release clearly escaped my orbit, but regardless I'm happy to see more material from them.  The sound is similar but in some different directions, namely with the inclusion (& I believe replacement) of two new members: Léa Martinez (vocals) and Wladislas Marian (bass).  The album is up on Bandcamp for name-your-price featuring 4 songs (as is/was their debut), but definitely show them some love if you like what you hear (*I certainly will after I sort out my new CC).

Vinyl is available at their label Humus Records.  

You can also check out another Switzerland band featuring H E X synth player Vincent Devaud, who also contributes synth & vocals in 'Loveress', for a completely different vibe switch.

Bandcamp

Point of No Return - The Language Of Refusal

 

Point of No Return is a straight edge hardcore band from São Paulo, Brazil.  The group made waves with their debut album, 'Centelha' in 2000, followed by their 2nd full length, 'Liberdade Imposta, Liberdade Conquistada' in 2002 following a 7 month hiatus.  The band often meshes vocals in both English and Portuguese (their entire 2nd album is in Portuguese), with a prominent aspect of the band being their unique blending of three distinct singers, sometimes merging together in familiar hardcore gang vocals.  

The band played their "final" show in 2006, but has re-emerged in 2024 with their latest full-length album, 'The Language Of Refusal', a collection of songs written from 2002-2024.  They also released a new live album, 'Ao Vivo na Verdurada' in October of the same year.  The band lineup is largely the same, while adding a new vocalist & bass player in 2024 (six current members and six past members, two of which were only active during their inception in 1996).

This release was a definite unexpected surprise for me (discovering it recently), and also a good starting point for anyone looking for an oldschool hardcore itch to scratch from some very pissed off vegans.  I believe this is also the first release from them to ever be available on vinyl.

Bandcamp

Neurosis - An Undying Love For A Burning World

Neurosis have re-emerged with their first new album in 10 years, after their parting with longtime vocalist/guitarist Scott Kelly.  Some speculated (such as myself) that the band would end altogether, but instead they have shadow-dropped a new album, 'An Undying Love For A Burning World' on March 20th.  Aaron Turner (ISIS, Sumac, etc.) has filled the absence of Scott Kelly on both vocals and guitar, and the pairing not only makes sense but has expectedly delivered well (understandably as Aaron Turner has cited Neurosis as a huge influence on his music); also considering three other members contribute vocals the overall sound is much of the staple people would expect.  The album is currently in digital-only release, with physical releases slated later (May 8th for CD/Cassette and June 5th for Vinyl).

The band in its new iteration will perform live for the first time at the Fire in the Mountains festival in Montana (a non-profit on Blackfeet Nation lands dedicated to reducing youth suicide) in July.  Notably the festival is co-headlined with a reunion performance by 16 Horsepower (former band of David Eugene Edwards before Wovenhand), among an overall packed lineup.  Neurosis is known for being a great live band, and while I haven't seen them personally I can attest that ISIS put on one of the best live shows I've ever seen/heard, so I imagine they will be right as rain with the inclusion of Aaron Turner.

As for the album itself, I won't yap too much aside to say I enjoyed it, with probably the biggest takeaway being I didn't fully realize how much Steve Von Till's vocals mirrored or resembled Scott Kelly's, and overall while his presence is missed, of all the people I can think of to fill that void they found the most agreeable and obvious in Aaron Turner, both vocally and on guitar and more fundamentally his song-writing ability.  The near 17 minute closing track "Last Light" might highlight his most direct influence and possible direction of any releases in the future.

Bandcamp

 

Shintaro Sakamoto - Yoo-hoo

 

When I posted 'On-Gaku: Our Sound' in January, in a moment of synchronicity/oversight I came to realize Shintaro Sakamoto also released his newest album the same month.  'Yoo-hoo' is Shintaro's 5th full-length solo album, following 21 years of fronting Yura Yura Teikoku.

His former band had a more prevalent psych/rock aspect propelled by his guitar/singing, but much like his solo work exists a common thread of dreamy/dreary unconventional pop/surf that he continues to explore and refine.

This album sounds like lounge music in the coolest lounge in town, complete with sporadic traditional horn/wind/percussion instruments and outlier inclusions Shintaro's style is known for (e.g. whatever that little instrument is on "Is There A Place For You There?").  I won't bother dissecting this track to track, as fans of his past work will probably be onboard regardless, but for everyone else I would give it my rubber stamp of endorsement of being my favorite solo album he's released.  'Yoo-hoo' is maybe not his most experimental album, but likewise a reminder that you're always in for a surprise.  Ultimately the dreamy+dreary/surf-psych ventricle throughout much of his sound is (in my opinion) beating better than ever on 'Yoo-hoo'.

Can check out the three singles released below.  Bandcamp for prior releases (hasn't made its way there yet) and direct purchase link through his label.

Bandcamp

Purchase

Converge - Love Is Not Enough

Converge released their new album, 'Love Is Not Enough' today; vinyl is already sold out (on Bandcamp) but I'm sure more will be coming.  The album feels relatively short but it definitely checks all the "this-Converge-album-is-great" boxes.  Just one of the best bands to do it, and still excellent 30+ years into their discography.  Also recommend checking out their recent Audiotree performance.

Bandcamp

On-Gaku: Our Sound

I've been trying to commit to posting at least once per month in my spare time; being sick the past week or so and not having any albums recently that have blown my socks off, I figured I would switch it up and post a movie recommendation that is music-adjacent.

'On-Gaku: Our Sound' by Kenji Iwaisawa came out in 2019, based on the 2005 manga 'Ongaku' ("Music") by Hiroyuki Oohashi.  This movie has particular relevance to me/this blog, because one of the main characters, "Kenji" (center above), is voiced by Shintaro Sakamoto (singer/guitarist of Yura Yura Teikoku, now solo), the first I believe of his voice-acting credits.  Some of the voice cast is also handled by other venerated Japanese musicians.

I won't give a movie review/film essay aside to say it is a very visually (and auditorily, with Shintaro also contributing to the soundtrack) appealing anime featuring rotoscoping with hand-drawn emphasis, centered around three teenage delinquents who decide to start a band together -- with none of them having any musical background.  As you'd imagine, the hijinks and roadblocks that follow make for an entertaining and inspiring film.  The plot builds to them performing live for the first time, and the result is indeed the "climax" in all senses of the film.

Just thought I would shout this out, sans an awkward scene (you'll know when you see it), it's a very enjoyable movie with slightly more deadpan comedy than drama, but overall a lot of heart; no doubt resonating with anyone who has jammed in a room with bandmates, especially for the first time.

I don't think any "regular" streaming services currently have this available (possibly Amazon for purchase?), so you might have to get creative or do extra digging to find it.  But physical copies can be bought from Amazon or wherever.

Steve Lyman - SIGNAL TO BURNING

I've been seeing posts of an upcoming project featuring Cedric Bixler-Zavala (At the Drive-In, The Mars Volta, etc.) and drummer/synth player Steve Lyman (Utah to Brooklyn, NY), whom I was unfamiliar with prior to this upcoming collab, 'SIGNAL TO BURNING', on April 1st, 2026.  

Lyman is primarily a jazz drummer/composer/educator mashing up electronics and occasional brass (woodwind if you want to get technical, which his music is), referring to his latest solo record 'SPIRAL' in 2024.  This conglomeration probably explains how he paired up with Cedric in the first place, mirroring his/The Mars Volta's often unconventional ingredients in a musical blender, while maintaining a strong jazz...exoskeletal? framework.  

His last solo record also features a number of collaborators I wasn't familiar with, sans the very jazz-centric Jimmy Chamberlin (The Smashing Pumpkins, Jimmy Chamberlin Complex), featured on the closing track "CIRCLE", which is probably my favorite track on the album.

There has been a couple singles released so far ahead of the album (below), and while I'm not positive Cedric is on all or more of them (he mentions other collabs on it with Tigran Hamasyan and Nathan Schram, the latter of which is also on the released single "BIRDS SINGING ON THE MOON"), the first two singles of the 14 total tracks have been their collaborations.

I'll link his Bandcamp below, which features the aforementioned 'SPIRAL' from 2024.  He had another solo record called 'Revolver' in 2013 that I haven't tracked down yet.  Their upcoming record 'SIGNAL TO BURNING' will be out on April 1st.

Bandcamp

Moonstone - Age of Mycology

Moonstone is a 4-piece doom/stoner rock group from Kraków, Poland.  Their 3rd full-length album 'Age of Mycology' came out on November 7th.  This is my first time hearing the group, and while the album doesn't re-invent the doom/stoner rock wheel, it puts enough playing cards and flashes on the spokes that it caught my attention.  The album is constantly peeking out of the doom trenches, unlike many who are determined to see how far down they can dig.  Altogether the album comes from a lot of genre/influences but it had enough surprises throughout that kept my attention and subverted it, with the closing title track showing a lot of promise for how far they can stretch their legs going forward.

Bandcamp

Youtube

Monkeys On Mars - Monkeys On Mars

Newest EP from Mars Red Sky, collaborating with Swiss prog/instrumental band Monkey3, under the moniker and debut of Monkeys On Mars.  The collab is just two tracks (technically three but 'Tiny Flames Edit' [video below] is a reworked/shortened version of opening track "Seasonal Pyres") but I definitely enjoyed both, especially the more metal-tinged build-up of "Hear The Call".  

It released on October 17th; if looking to purchase/extra bundles I'd recommend here.

Bandcamp

WITCH - SOGOLO

Emanuel "Jagari" Chanda, Patrick Mwondela

WITCH ("We Intend To Cause Havoc") is a Zambian funk/rock band (with a brief dance with disco) regarded as among the most popular/influential of "zamrock" bands of the 1970's, a genre coined via their creations.  Formed about a decade after Zambian independence, the band is led/founded by Emanuel "Jagari" Chanda, who also took in influences from Europe, America, and rock/pop music of the West.  

Chanda left the band in 1976, after releasing four albums, to pursue teaching.  The band went through a series of member/genre switches afterwards until after 1984 when the band quit performing live.  The band revived in 2012 when their re-issued records started gaining traction to new audiences, with Chanda making new material alongside new members from the Netherlands, Germany, and Switzerland (as well as keyboardist Patrick Mwondela, who first joined the band in 1980).  They released their first album since 1984 in 2023 with their eighth studio album, 'Zango'.

'SOGOLO' is their newest 2025 release, and ironically I stumbled across this thinking it was a new album from J Mascis (Dinosaur Jr.) adjacent side-project 'Witch'.  The opening track "Kamusale" and following "Nadi" are the power combo and my favorites, but the entire album is solid.  After my introduction to 'SOGOLO', I have good reason to check out their previous eight albums; as mentioned earlier all of their older studio albums have been re-issued.

Bandcamp

Kira Skov - WHAT TIES US TOGETHER, WILL KEEP US APART

"Kira Skov's What Ties Us Together Will Keep Us Apart is an evocative and deeply personal album, rooted in themes of family, generational trauma, and the stories we inherit. Inspired by her own experiences and shaped by her collaboration on the DR1 TV series Generations, Kira explores the ways in which history, both real and imagined, shapes our identities.

The album's genesis began with Kira's reflections on family relationships, drawn from her father's vivid but often fictionalized stories. When writer and director Anna Emma Haudal approached her to compose music for Generations, a drama exploring family secrets across three generations, the timing was serendipitous. The themes of the series resonated deeply with Kira's own songwriting, resulting in a collection of emotionally charged, atmospheric compositions.

Recorded and produced with her longtime partner Silas Tinglef at Seabass Studios in Copenhagen, the album features a rich sonic landscape. Silas plays guitar, drums, keys, and bass, while Maria Jagd contributes sweeping string arrangements. Anders AC Christensen provides bass and piano, Ned Ferm adds haunting flute and saxophone textures, and Anders Trentemøller lends his signature synth bass to a track. The album was mastered by Brian Batz.

What Ties Us Together Will Keep Us Apart is a powerful statement on the weight of personal and collective memory. With Skov's signature haunting vocals and introspective lyricism, the album moves fluidly between raw emotion and melodic beauty, offering listeners a deeply immersive experience. 

credits

released May 16, 2025

Kira Skov (vocals/guitar), Silas Tinglef (guitar/drums/keys), Anders AC Christensen (bass), Maria Jagd (strings), Ned Ferm (sax/flute)."

- Via Bandcamp

Latest album from revered Denmark alternative/pop singer/songwriter Kira Skov.  I've enjoyed her voice since discovering her late with 2011's 'SPIRIT TREE', with standout tracks like "DUSTY KATE" and "BURN DOWN THE HOUSE".  Her latest album apparently was commissioned for the TV Series 'Generations', and while I haven't seen the show the music speaks for itself.  Just a dynamic solid album with one track I didn't really care for (I'll omit which one), but likewise some stellar standouts like "Scream It Out", "Calling The Grievers", and "It Ain't Pretty".  Overall just a very grounded album with some welcomed experimental/electronic flashes tastefully interspersed.

Bandcamp

Ulver - Liminal Animals

Tore Ylwizaker

'Liminal Animals was written and arranged by Ole Alexander Halstensgård, Kristoffer Rygg, and Jørn H. Sværen, mixed by Anders Møller at Subsonic Society, mastered by Vegard Sleipnes, and performed by Halstensgård, Rygg and Sværen with Stian Westerhus (guitar, bass, strings and backing vocals), Ivar Thormodsæter (drums), Anders Møller (percussion and choir), and with special guests Nils Petter Molvær (trumpet), Sara Khorami (choir), Astra Eida Rygh (choir), Sisi Sumbundu (choir) and Torgeir Waldemar Engen (choir).

The album was recorded and produced at Lupercal in the Old Town, Oslo. Additional recordings were done in Pitch Black Star Spangled Studio, same city, different location.

The cover art features The Senseless Seven, a 1911 drawing by Austin Osman Spare. Design by Paschalis Zervas, + wolframgrafik, Athens.'

- via Bandcamp

Just thought I'd shoutout Ulver's latest release (November 2024), the first album without their longtime keyboard player Tore Ylwizaker, who passed away in August of 2024.  From what I can tell, the album had been in the making for a couple years, but it never featured Ylwizaker, who was pursuing other projects.  'Liminal Animals' is a continuation of their further exploration of electronic driven pop, and their diverse continuation of experimenting in styles, from the black metal/folk elements they started from.  I mostly posted this because I think "Hollywood Babylon" might be my favorite Ulver track ever made; without knowing the bands intentions behind the song (I'm guessing the obvious leaning more on the cynical side), it works as both a rah-rah anthem and a pointed criticism that I think few bands/songs have encapsulated -- even if unintended.  All the more that it is wrapped up in a glamourous/commercialized sheen in contrast to the subject matter of the song.   

Bandcamp

Nankai TRIO - Antarctica

Shoya Kitigawa (guitar), Senri Kawaguchi (drums), Masatoshi Mizuno (bass)

This video popped up in my YT algorithm recently, introducing me to Japan's Nankai TRIO.  Around the time Senri Kawaguchi hit the drum phaser during her solo (also composing the entire song), I realized I was discovering an incredibly talented drummer and band.  Senri has been taking drum lessons since age 6, and by age 8 her current teacher recommended she begin taking lessons from renowned drummer/instructor Kozo Suganuma (whose Wikipedia is entirely in Japanese...and his albums/bands are very hard to find or listen to outside of Japan, I'm realizing).  Under Suganuma's wing, she began playing with him and other musicians, which would be the first of her vast and expanding musical projects accompanying her later 'solo' records under her name -- the debut of which Kozo featured on (2013).  Like her instructor, she learned and has always played on Yamaha drums; she supported and featured for Yamaha Drum's 50th Anniversary in 2017, sharing the stage with other jazz mavens Dave Weckl, Steve Gadd, and Akira Jimbo. 

If you haven't figured it out already from the YT video, the band (and most all of Senri's projects) are centered around jazz/jazz-fusion/progressive rock.  She has two albums with the band 'THE JAZZ AVENGERS', five albums in 'Kiyo*Sen', four solo albums, three live releases, featured and recorded with Bootsy Collins' 'World Wide Funk' album in 2017, performed at the Super Mario 30th Anniversary concert in Tokyo, etc (lots of et cetera)....she is a busy lady.  

Because of said depth, I wasn't really sure what project of hers to post, but figured the album of my introduction ('Antarctica') was as good a place as any, also that it is the most recent (April 2025) recording in her discography and the first/only release of this trio.  Just super tight jazz fusion, that effortlessly glides in the heir (c wut I did there) of the greatest bands to do it, while also having its own unique edges and valleys.  Both Shoya Kitigawa and Masatoshi Mizuno elevate the musicianship as well, making for my favorite album I've heard so far in her discography (*I definitely haven't heard all of them).  I'd also really recommend checking out her two albums under 'THE JAZZ AVENGERS'.

None of her projects have a Bandcamp page, but I know most all are available on the iTunes/music store.  Going to take a guess they're also on Spotify.  I don't believe any of her releases are on vinyl but CD's are available through Amazon or wherever -- I don't think she has her own website.

Nankai TRIO

Solo

Kiyo*Sen

THE JAZZ AVENGERS

YEYEY - Last Blush

Stumbled across this album 'Last Blush' from YEYEY (Ben Shepard), knowing nothing of the artist (Utah to New York) but was pulled in from the album art.  I was pleasantly surprised to hear a solid album from start to finish -- a very soulful R&B/indie hybrid that has a lot of interesting/experimental instrumentation taking place in the background.  Most songs have a light/airy composition propelled by his falsetto vocals, while also having a very dense framework; the synths and percussion especially stand out, even at times when subtle in the overall mix.  I played all ten tracks then gave it a repeat listen, and it grew on me fast -- picking up a lot of things I missed initially.  As I understand it he is a one-man band (aside violin and flute by Meg Webb), which I think helps explain the fluid cohesion of all the different instruments/styles he blends.

'Last Blush' is his second full-length album, the first being 'The Vision' in 2015, which I'm excited to check out.

Bandcamp

Billy Nomates - Metalhorse

Billy Nomates (Victoria Ann "Tor" Maries) is a U.K. punk/indie/new wave/pop songwriter, whom I first became aware of with her feature on Sleaford Mods' "Mork n Mindy".  I became a quick-fan, and have enjoyed everything she has released so far.  Today marks the release of her 3rd full-length album, 'Metalhorse', which is in large part a concept album/theme about the "carnival", and more metaphorically the carnival of life itself.  

Her sound is often compared to a whirlpool of 80's influences, with my overall opinion that she is a glorious pairing of (mostly post) punk and pop.  And this is coming from someone who would rather listen to myself falling down stairs than most anything dubbed 'pop punk'; the difference here is that Nomates does an amazing job of never leaning too far in either direction, often leading you on a detour of synthy new wave (notably Hugh Cornwell contributes on "Dark Horse Friend") or moody ballad.

Definitely check out the rest of her discography if you like what you hear.  Her debut album is probably the most punk prevalent of the three, with an overall dynamic range exhibited across/within all her releases.  She also recently did the soundtrack to the theater play of Mary & The Hyenas.

Bandcamp

Stranded Horse - The Warmth You Deserve (with Boubacar Cissokho)

Yann Tambour / Boubacar Cissokho

I was perusing new music releases when I came across a new album from 'Stranded Horse', reminding me of Yann Tambour's folk project 'Thee, Stranded Horse' from 2007 ('Churning Strides') and by extension his earlier project 'Encre', quickly realizing it is the same artist just dropping the 'Thee'.

Clearly I haven't kept up with his work since his debut, but it was nonetheless exciting to see that Tambour has released a steady output of releases for me to catch up on.  His second album (reworked songs of his debut) was a collaboration with renowned kora player Ballaké Sissoko, the last album of which before re-naming himself/the project to 'Stranded Horse'.

His most recent album 'The Warmth You Deserve' features another Sissoko (or Cissokho), Ballaké's younger cousin Boubacar, likewise a kora player.  The pair initially collaborated on the 2016 album 'Luxe'.

Have only had a chance to listen to this once, but the sound and style from his debut 18 years ago still seems largely intact, with the added accompaniment from Boubacar Cissokho's kora playing.  Tambour seems to be the sole provider of the vocals, alongside his other instrumentation output, namely as a kora duo.  The last three of his/their releases are available on vinyl.

Bandcamp