HELL YES

ANAÏS MITCHELL Hadestown (Righteous Babe, 2010) Made on a budget long before Broadway, this intricate indie interpretation of Greek mythology hinges on a pair of simpatico voices – Mitchell and Bon Iver’s Justin Vernon. The story’s romantic woes remain forever relevant, as power and politics still overrun the purest hearts. ANAÏS MITCHELL Young Man In America (Wilderland,2012) Lullabies that yearn, eulogies that sting, shuffles that twist: Mitchell’s fifth – and, for a decade, final – solo album is a cataract of audacious ideas that never quite cohere, as if built in a Hadestown hangover. The title track, though, is a wonder of gothic Americana. BONNY LIGHT HORSEMAN Bonny Light Horseman (37d03d, 2020) This trio’s transfixing debut doubles as one of their generation’s most vivid re-imaginings of old Anglo-folk idioms. Whether on a narcotised Blackwaterside or a hymn for John Henry, Mitchell…