Dana and Karen Kletter: "Dear Enemy" (Hannibal)

Dana and Karen Kletter are identical twins born into an East European Jewish family in New York. Currently living in Raleigh, North Carolina, they have clearly had an interesting, if turbulent, life. We know this because they have distilled much of their common experience into the 12 tracks on this debut album. It is deeply personal, yet affectionate and compelling, the candid reflections accentuated by the affecting harmonies and sparse arrangements. Producer Joe Boyd lays out a minimalist folky backdrop for the sisters' instinctive harmonies, relying principally on plaintive piano and other basic stringed instruments The sisters describe their music as "la, la, la" and their message that of passive-aggression. Whatever, Dear Enemy is destined to be one of the year's more unusual albums.

By Joe Breen

Barry Kerr: "The Three Sisters"(Spring)

Generously tributed in sleeve-notes by mentor Seamus Tansey, this exceptionally-talented young piper, whistle and flute-player makes his debut with great skill and taste. The strongest tracks avoid fussiness; the lead Lon- don Lasses, in mixed 4/4 and 6/8, comfortably displays careful flute cranning, repeat-note ornament and mouth-cavity resonance. The only disconcerting track is the Abbey Reel set, a ramble into whistle flutter-tonguing and time and instrument change. Bush in Bloom on pipes is an effortless tribute to the late Fermanagh piper and teacher Sean McAloon; Tuirse mo Chroi, like Brendan's Air, has terrific tone and emotion. Gerard Thompson's guitar is a full sound, Rod McVey's keyboard does the esoteric thinking on airs, Narrow Gauge Jigs are tough exemplars in the wandering, converted-reel style, and a chunky Silver Spear is metered as finale by Tomai Taylor's bodhran.

By Fintan Vallely

Kieran Kane: "Six Months, No Sun" (Dead Reckoning)

"They've come for their pleasure, but she's there for the work." The song is Table Top Dancer, the opening track on this predictably excellent collection, and Kieran Kane, softly but insistently, hits the target again. His world is that of the small town, dark and claustrophobic, where love offers refuge, albeit temporary and insecure, but where the burden of life outweighs all else; the music flirts with styles from country to folk to swamp rock. Kane can loosen up as on (You're Just) Taking Up Space, but mostly this American songwriter is resolutely downbeat as with the title track and To Whom It May Concern, a rolling, moody ode to the end of optimism. Even his cover of the Louis Armstrong hit, What A Wonderful World, is draped in pathos.

By Joe Breen