Following the critical success that was ‘Way Down Low, Kat Edmonson returns with twelve new songs under the heading ‘The Big Picture’. By combining a similar mixture of jazz, folk and pop influences to her previous long player, Kat Edmonson’s passion for old classic films also finds a way into this latest set of compositions which, along with the guidance of well-renowned producer Mitchell Froom (Crowded House, Sheryl Crowe, Suzanne Vega et al), really comes to the fore during such songs as ‘Oh My Love’ where the vocal is purring against a backdrop of black and white nostalgia. It’s this very love of vintage films that also finds its way into such numbers as ‘You Can’t Break My Heart’ where the two-tone canvass is exchanged for a grainy colour inspired by a Sergio Leone movie and accompanying Ennio Morricone sound score to support its western flavour.  Elsewhere, there is a lovely light touch to the pop song ‘Avion’ that glides along at some pace and needs to be heard for the manner in which Kat Edmondson wraps her vocal around the very title of this particular ditty. ‘Rainy Day Woman’ is influenced by a 60s pop sound à la Dusty Springfield with its orchestral strings applying the raindrops, in addition to a horn section acting as a buffer against the oncoming (emotional) downpour. One of the most pleasing aspects of ‘The Big Picture’ is the apparent simplicity of some of the songs where less is certainly more when considering the shuffling drums and acoustic guitar of the exquisite ‘For Two’ and mellow tones of final song, ‘Who’s Counting’. Kat Edmonson’s star is on the ascendency as ‘The Big Picture’ is an album full of charm and teeming with creativity that manages to pull all of its components together and yet somehow sound smaller than its overall outlook would suggest. This, of course, is a skill in itself, and one that this songstress manages admirably. Top marks indeed!

It has been two years since the collaboration with Rihanna on the huge success that was ‘Stay’, but now Micky Ekko is ready to open his own recording account with the album ‘Time’. Whether a stretch working on production duties and honing his skills as a songwriter was deemed necessary by Ekko himself, then the wait has been worthwhile because ‘Time’ is an assured long player. Such an assertion can be gleaned from the confident manner of opening song ‘Watch Me Rise’, as it remains strong in its pursuit of hard fought goals while others equally deserving of success fall before the final hurdle. By making use of synths and other electronics, Micky Ekko creates a broad palette of sounds that, when combined, delivers a series of memorable songs such as the passionate ‘Love You Crazy’ and soulful vocals of ‘U’. There is a darker twist to this album as well, which makes itself clear with the down on its luck narrative of ‘Smile’; rockier rhythm of the quite superb ‘Riot’ and then change of tactic, instrumentally, with the introduction of acoustic guitar and orchestral strings adding to the plaintive emotions contained within the album’s title song. By setting his own path for creative discovery and seemingly given the freedom to do so – the doubleheader containing the use of the word doves for example – Micky Ekko is a beguiling talent and one who has just written an album’s worth of equally fascinating material that is, at times, accessible and on other occasions demands a bit more from its listeners, which is precisely what you get with ‘Time’ and gratefully so.

Trading in their wild brand of rockabilly as The Houserockers by taking in the blues as The Broadkasters, three members of the previously mentioned line up add an additional player to their ranks on harmonica in order to communicate their passion for this other love in their life. Nowhere is this better expressed than the vocals of Rob Glazebrook, who is given centre stage on more than one occasion, such is the charisma in his voice that gives these songs such a faithful delivery. If it’s evidence you’re looking for, then the seemingly one take and straight off-the-cuff ‘Stop Breakin’ Down’ is probably the closest example you’ll get where Glazebrook sounds present in your front living room with the rest of the instrumentation tucked away neatly behind, such is his presence coupled with the raw and ready nature of this particular track. Of course all this would not be possible without the rest of The Broadkasters in attendance, who know how to concoct a driving rhythm or two such as the beating heart that moves ‘Crazy Mixed Up World’, to the rapid execution of its title track ’21 Days In Jail!’. Where this album benefits as well is The Broadkasters ability to deviate from the more regular tempo of the songs, by offering up a few less hurried efforts such as the marvellous, yet snapping at the heels by way of harmonica of ‘Ah’w Baby’, to the steady drip of emotions portrayed effectively with the back burning rhythm of guitar during ‘Come Back Baby’. Full of character and expertly relayed, The Broadkasters slip into their second skin – the blues – and come out triumphant with ’21 Days In Jail!’

‘Reality Show’ is the third full-length album from previous Grammy nominee Jazmine Sullivan. With this latest release being a joint effort in terms of production involving Salaam Remi, Key Wane, Chuck Harmony, Da Internz, Ant Bell, DJ Dahi, Joe Logic and Dilemma, the high number of collaborators reaps dividends for Jazmine Sullivan who goes from strength to strength with a soulful blend of R&B, smatterings of hip-hop inspired beats and mild electronica. It’s the knockout vocals, however, which pierces all exteriors of the songs present here, backed up with heartfelt lyrics reflecting on the various complexities that relationships can bring. Such examples can be identified from the stream of thought that flows through ‘Mascara’, expertly portrayed by a tender vocal which proves to be no fluke once the wider range of ‘Brand New’ enters the fray. There’s some dirt underneath the nails regarding previous hit single ‘Dumb’, which makes its entrance to an echo of vocals that later gives way to Meek Mill’s rapping the male perspective on this ill-fated relationship. The prospect of happiness remains unlikely once ‘Forever Don’t Last’ gets underway as Jazmine Sullivan pours her heart out to the accompaniment of handclaps and acoustic guitar. The tempo is lifted with the dance influenced ‘Stanley’ and then steps down once more with the smooth delivery, and really quite wonderful ‘Let It Burn’. As truthful as it gets, ‘Reality Show’ reveals the inner walls of the troubles and strife that relationships can experience, only these troubled times are given a sweeter edge by the quality and sheer talent of Jazmine Sullivan.

Without wishing to set alarm bells ringing, Missiles of October couldn’t have arrived at a more appropriate time considering the political turmoil that is escalating in a number of countries right now. Judging by the raging intensity of their debut album ‘Don’t Panic’, one can surmise that there are a few issues this three-piece band wish to get off their chest. While such matters may not be of a political nature, the topics on offer are equally sensitive and concern problems associated with addiction, loss and general dissatisfaction with everyday living. Plying a scuzzy slab of punk rock fused with elements of metal and hardcore, Missiles of October project forth an intense racket that is best served by the likes of ‘Wannabe’ with its skewered guitars and the abrasive surface of the white-hot ‘Cheerleader’. Such examples are complemented by ‘Two Feet In Sludge’, which gives a rather fine impression of wading through a quagmire with its guitars deep in the mire and lead vocal struggling to remain above the surface, topped off by the tight rhythm and murky tone of ‘Dance With Me’. Missiles of October is certainly raging at the various inequalities felt and struggles associated with such disparities, but there is also a sense of biding their time in order to transmit their frustrations in the most effective manner as suggested by the overall title of this body of work.

Taking a break from his usual duties with Seven Doors Hotel, Alexander Lindbäck embarks on a solo jaunt with his first recording ‘Santa Is Real’. Taking inspiration from The Louvin’ Brothers’ classic ‘Satan Is Real’, Lindbäck spins a yarn on a darker Christmas tale that is more about taking rather than giving. Without wishing to put a dampener on the Christmas festivities with its more serious tone involving murder, drug misuse, prison and the lack of any real gifts being exchanged, ‘Santa Is Real’ possesses a sense of mischief and definite black humour in between the serious drama, especially considering  mum’s unfortunate fate via some gingerbread dough! With the song coming wrapped in a country styling that contains some lovely mandolin, pedal steel and piano, Christmas with Alexander Lindbäck is definitely one to savour for a number of different reasons, but most notably for his refreshing take on the traditional festive song that really brings to life ‘Santa Is Real’.