Category: Folk

A folk record arriving in February just feels right. The bleakness outside matches the mood, and you find yourself more willing to sit still and actually listen. When I Think caught me at exactly the right moment, and I think that timing coloured how deeply it landed.

This is Ervin Munir’s third album and it’s the one where everything starts to feel intentional rather than exploratory. There’s a confidence here that’s hard to fake. The Norfolk based songwriter has always had a knack for writing lyrics that feel like they came from somewhere real, and this record doubles down on that without becoming navel gazing.

“Lifeline” opens things up gently and sets the tone perfectly. It’s the kind of opener that doesn’t try to impress you, it just invites you in. From there the album moves at its own pace, and the best thing I can say about the sequencing is that it never feels like filler. Each track earns its place. “Rainfall Memories” is a particular highlight early on, the kind of song where the piano does most of the emotional heavy lifting and Munir wisely stays out of its way until the moment is right.

“I Don’t Care” surprised me most. I wasn’t expecting the rocky edge it brings, and it works precisely because the album has lulled you into a quieter headspace by that point. It’s a well placed jolt that shows just how much range Munir is working with here. “One Step Beyond” does something similar later on, shifting the mood just enough to keep you fully engaged rather than letting the record simply wash over you.

“Perfect Moment” and “Should’ve Known Better” sit comfortably at the heart of the record, doing exactly what their titles suggest. They’re warm, assured songs that give you room to breathe before “Voices” lifts things into a different gear entirely.

The title track sits at the centre of the album and also at the centre of something far more personal. When I Think is dedicated to Aeron Z Jones, Ervin’s producer and close friend who passed away recently. Knowing that before you listen changes the weight of the whole record, and the title track in particular. You can hear the grief in it without it ever being spelled out. The animated video that accompanies it is a thoughtful touch and adds another layer to what is already one of the more emotionally loaded moments on the album.

Aeron’s influence across Ervin’s previous work is something fans will know well, and his presence is felt throughout in the care and texture of the arrangements. The dedication feels earned rather than performative, and it gives the whole record a deeper emotional resonance that stays with you long after the final track.

“Live And Learn” closes things out with exactly the right energy. It doesn’t try to resolve everything, which is the correct call. Life doesn’t do that and neither should the album that’s been wrestling with it for the previous 40 odd minutes.

Marsha Swanson’s music videos are making the rounds at film festivals across the globe, proving that the marriage of music and visual storytelling can find audiences far beyond traditional music video platforms. Her video “Like an Angel” received an honorable mention at the New York Short Animation Festival, a recognition that places her work among some of the most creative animated content being produced today.

The New York Short Animation Festival has become a destination for animators and visual artists looking to push boundaries and experiment with form. An honorable mention at the festival signals that Swanson and her collaborators are doing something noteworthy with the medium. The video for “Like an Angel” uses animation to create a visual landscape that complements the song’s themes, offering viewers an experience that goes beyond simply watching a performance.

Earlier in the year, “In Touch” was screened as an official selection at the Portobello Film Festival’s 30th anniversary celebration in London. The Portobello Film Festival, which takes place in the vibrant Notting Hill neighborhood, has spent three decades championing independent filmmakers and artists who create outside the mainstream. Being selected for their milestone 30th anniversary programming put Swanson’s work in front of London audiences and festival programmers who appreciate boundary pushing creative work.

Most recently, “Generational Transmission” has been named an official selection at the New York Films Screening Festival. This marks the second festival selection for this particular video, which has clearly struck a chord with festival programmers. The video, created in collaboration with longtime visual partner Sam Chegini, showcases the innovative visual work that has become a hallmark of Swanson’s releases.

Chegini has worked with Swanson on multiple projects, developing a visual language that feels consistent across her body of work while still allowing each piece to have its own identity. The collaboration between musician and visual artist has created something that feels more like a true partnership than the typical director for hire relationship that characterizes many music videos. Each project builds on the last, with both artists pushing each other to try new approaches and techniques.

The festival recognition highlights how Swanson’s approach to combining music with compelling visuals is resonating with audiences and programmers worldwide. In an era where music videos often feel like afterthoughts or simple promotional tools, Swanson is treating the form as an opportunity to create something that stands on its own as a piece of art. The fact that film festivals, not just music video competitions, are recognizing her work suggests that she’s succeeding in that mission.

Ervin Munir has been steadily building a catalog since 2022, releasing over 20 singles and establishing himself as a fixture in North Norfolk’s music scene. But “Lifeline,” his new collaboration with vocalist Kate Swanson, feels like a step forward for the Sheringham based songwriter.

The track tackles that specific kind of loneliness that can swallow you whole until someone shows up and reminds you what connection feels like. Ervin describes it as being about that moment when one person changes everything, and the music backs up that sentiment without getting heavy handed about it. This is emotional without being manipulative, which is a harder balance to strike than it sounds.

Kate Swanson’s vocal opens things up. There’s this serenity to her delivery, but underneath it you can feel real power waiting. The piano gives her space to establish the mood before Ervin comes in for the chorus. When the two voices meet, something clicks. It’s not just two people singing the same words. They’re actually harmonizing in a way that feels like a conversation, like two perspectives coming together to say the same thing.

The guitar work builds as the track progresses, adding these soaring leads that lift everything without overwhelming the vocals. The arrangement knows when to pull back and when to push, which matters when you’re dealing with a song about emotional rescue. Too much and it becomes melodramatic. Not enough and it loses impact. Ervin and his collaborators found the right level.

Singer songwriter Saskia Griffiths-Moore has ditched the folk playbook for her latest release, and the results are worth paying attention to. “Matter Of Pride” sees her diving headfirst into blues territory, and she sounds right at home there.

The track is gritty, rhythmic, and packed with the kind of energy that makes you hit repeat without thinking about it. Saskia hasn’t abandoned what made her work in the first place though. That storytelling backbone is still there, just dressed up in a completely different outfit.

What’s impressive is how confident she sounds navigating these blues-tinged melodies. There’s no tentative dipping of toes here. She’s jumped straight in, and the hooks are strong enough to prove she knows exactly what she’s doing. The driving rhythms give it a summer ready quality, the kind of thing that works just as well blasting through car speakers as it does through headphones.

As founder of Talent Is Timeless, Saskia spends plenty of time championing other emerging artists. But “Matter Of Pride” makes it clear she’s not standing still herself. This is an artist pushing her own boundaries while still sounding authentically like herself, just with more grit and groove than before.

Words By Joey Rochert.

Norfolk folk singer Ervin Munir isn’t messing about on his latest release. “Voices” takes aim at mental health struggles and the kind of procrastination that leaves you frozen in place, unable to move forward or back.

“This song is about mental health and procrastination and not being able to make a decision,” Munir says, cutting straight to it.

The track opens with a whistle that lulls you into thinking this might be a gentler ride than it is. Then the piano creeps in, building tension before everything strips away to leave just Munir’s voice exposed. It’s a smart move. When you’re singing about the war in your own head, less is definitely more.

The production keeps things lean. Bass rumbles underneath, guitar lines drift through when needed, but nothing clutters the space. Munir delivers each line like he means it, which is crucial when you’re writing about something this raw.

It’s his follow up to “One Step Beyond,” and it shows an artist who’s not afraid to sit in the uncomfortable stuff. There’s no grand resolution here, no neat ending where everything gets figured out. Just the reality of being stuck, overthinking, and letting those voices win sometimes.

In a world where everyone’s shouting about their mental health journey, Munir just puts it in a song and lets it speak for itself. Turns out that’s more powerful anyway.

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Photo Credit: Ervin Munir.

How did your songwriting process for “Pure and Simple” differ from “Broken Compass”?

My songwriting process hasn’t changed between both albums. The one exception is with the new album title track “Pure and Simple” where Tim Levey wrote the original lyrics. I added the middle-8 lyrics and adjusted a few of the rest. At this point I felt inspired enough to complete the song. 

I still look for inspiration from the world around me and from my personal experiences.

What inspired the emotional depth and drum solo in “Felixstowe”? 

It was a grey rainy day in Norfolk. I was feeling low, I guess. I had been playing “Old Man” by Neil Young and I liked the F to D chord change that it has in it. I played around on the guitar and got a nice chord sequence by adding a G chord.

“Felixstowe”, at the time, was just a placeholder word destined to be replaced at some point. I googled “Felixstowe “ and found that it has a ferry. The songwriting took on a life of its own and I imagined a grey, wet, dank ferry town and a breakup song. 

The drum solo came about because the overwhelming feelings in the songs were loneliness, sadness and anger. I imagined a lone drummer in a boat house thrashing out these feelings as the ferry, with his love on board, left. My producer Aeron Z Jones immediately got it and the drum track came to life. 

I’m pleased to say that “Felixstowe”, and two other tracks (so far) from the new album, have been played on BBC radio. 

How did working with Aeron Z Jones and Tina Blaber shape the album’s sound?

Aeron always has a huge influence on the sound of every track. He’s a skilled musician and multi-instrumentalist. We work well together and the ideas he brings to each song are usually good ones. I give him space to be creative and he does just that. This was the same on my previous album “Broken Compass”. 

I’ve worked with Tina Blaber for many years. She has a spectacular voice and some songs I write really need her female vocal. She is often on my mind when songwriting. It’s great knowing that she will deliver what I need. She sings on “King” and “Doors”.

Tina and I have recently released a co-written single called “The Book” featuring Cutting the Mustard. On this song I play acoustic guitar and sing backing vocals and Tina sings lead vocals. Aeron Z Jones also produced it.

What does the title track “Pure and Simple” represent to you?

It surprised me how much I identified with the words in this song, especially as the original lyrics were written by someone else (Tim Levey). I do like things pure and simple, I’m not that great with change, I like to know what I’m doing in most things, and, like many people I want to love and be loved.

What do you want listeners to take away from “Pure and Simple”?

I’d like people to realise that there’s lots more to come from me musically. I’d like them to come with me on the journey. 

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Photo Credit: Ervin Munir.

Words By Joey Rochert.

Ervin Munir returns with his second studio album, “Pure and Simple”, which is out now. Ervin demonstrates here his powerful heartfelt storytelling, delivering an introspective collection of songs that explore love, sorrow, loss, and self-discovery with profound sincerity.

The album is a blend of folk sensibilities with unique musical arrangements and it strikes a perfect balance between raw emotion and polished craftsmanship. Collaborations with skilled musicians elevate the record’s depth, notably Aeron Z Jones, whose bass, electric, and slide guitar work adds a dynamic edge to several tracks.

It is an album which you can get play time and time again and enjoy something different and it will be stuck on repeat I am sure!

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Photo Credit: Ervin Munir.

Words By Joey Rochert.

Ervin Munir’s latest single, “Break Me,” is here, and it’s a beautifully raw exploration of heartbreak and healing. The Norfolk folk singer-songwriter has once again crafted a track that connects on a deeply emotional level, drawing listeners into the intimate vulnerability that comes with the end of a relationship.

With his warm vocals and acoustic guitar at the forefront, Ervin delivers a performance that feels both personal and relatable. The song’s richness is elevated by Aeron Z Jones, whose soulful electric guitar, piano, and bass add layers of texture and depth, making “Break Me” linger long after it ends.

Lyrically, the track captures the painful yet transformative process of moving on, exploring introspection and acceptance in a way that feels honest and cathartic. It’s a reminder that even in heartbreak, there’s beauty and strength to be found.

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Photo Credit: Ervin Munir.

Words By Joey Rochert.

Ervin Munir’s new track “Did I Miss It” just landed, and I can’t get enough of it. He’s really nailed that whirlwind feeling of falling for someone fast—like he’s singing right from his own heart into ours. The acoustic guitar is warm and grounding, and when Aeron Z Jones brings in those electric guitar riffs, it’s like the song lifts off.

Ervin’s vocals are also genuine; you feel every lyric as he sings about that first spark and the rush of emotions that follow. After loving his last track, “My Heart,” I was excited for this one, and it doesn’t disappoint. Folk fans, this is one for you!

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Photo Credit: Ervin Munir.

What inspired the lyrics for “Going Nowhere”?

My girlfriend (Dorothy) at the time was a very independent woman, whereas I was abandonment phobic. This song is about my relationship insecurities then. 

How did Sophie Ellis-Bextor’s style influence this track?

I was listening to her songs around the time I wrote it. Obviously, my songs are very different from her pop/dance stylings. We are completely different artists. But I always felt the bridge in “Going Nowhere” was reminiscent of one of her songs (I wish I could remember which one). Also, the conversation I’m having with my girlfriend in the song reminds me of the conversations Sophie Ellis-Bextor has in many of her songs.

How do you blend folk, country, and pop in “Going Nowhere”?

It’s not a conscious choice to do so. Influences are in my head and that’s what comes out. I often aim for a strong chorus and the instruments I use lean towards folk/country. 

What message do you hope listeners take from “Going Nowhere”?

It’s ok to be insecure, but you need to talk about how you feel with your partner. 

Can you tease any details about your upcoming second album?

There will be 10 or 11 tracks. “Felixstowe”, “Chase the Moon”, and “Going Nowhere” will be on it. There is also a short song about my dog Maggie on it (she died in May 23).

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Photo Credit: Ervin Munir.