We’re clearly in the wrong decade here. New album from 80s stalwart Nightstop with ‘Dancing Killer’, not only revisits the aforementioned decade, but ends up remaining there with an inch perfect recreation of that classic synth sound that provided the backdrop to many films and television series of that period. With Nightstop being classed as a synth/retro wave artist, and one who’s been growing in popularity since 2013, the credits behind this musician include several albums and EPs. Latest album, ‘Dancing Killer’ is the newest addition to that catalogue of music as it continues the retro feel where 80’s synthesizers dominate and create a series of instrumental moods whether blowing a cool icy chill throughout ‘Beast Within’, or more 80s romance than sleaze hinted at by the title ‘Backseat Lover’. The overall feel of the album is one that is obsessed with city nightlife, where you’re likely to find the characters Crockett and Tubbs (Miami Vice) sipping cocktails under the neon glow of a busy nightspot, for example, with the tracks ‘Flesh’ and ‘Ghoul’ the most likely candidates. Weirdly at odds with the current climate of any music scenes right now, but largely part of its appeal, ‘Dancing Killer’ is an album that transports the listener back to a period of music that is genuinely recreated via its 80s instrumental synth sounds.

“Houses have holes to let the air out,” starts lead singer Gøran Karlsvik of Norwegian post-punk band This Sect, deep in the knowledge of the outcome of where his lyrical pen is steering this latest release. A seven-inch pink only vinyl, with the other option a digital download, ‘Nil and Void’ is unlikely to claim any official chart placing such is its cheeriness, but then it wouldn’t be This Sect without a few honest truths sprinkled with cryptic details that will have the Einstein’s among us working overtime until its bitter end. As far as conclusions go, there really is no such thing when it comes to ‘Nil and Void’, more a repeat spin cycle of the vacuous nature of life where human nature passes for empty vessels, accepting their lot and merely passing through time. Thankfully, the driving electronic synth weaving a forceful path through this single, coupled with a watertight tight rhythm section try their hardest to raise the alarm and retaliate against such inertia. Unfortunately, old habits are hard to break. The flipside, ‘Pink in Red’, maintains the high quality levels, offering a calmer intro but one that is shrouded in cold instrumentation until it finds some warmth via a stirring chorus where guitars soar. With their anxieties continuing to take hold and therefore failing to shake that dreaded curse, This Sect continue their struggle against society’s ills by equipping themselves with the tools of their trade, including a raw post-punk sound and a profound use of words. It’s a powerfully effective combination, and one that is deserving of a wider audience.

The Crowleys open their account in fine style with the song ‘L.A. Sunset’ that radiates a glorious sound and more than matches the L.A. sunset held in its title. Beginning in a haze of shoegaze guitars that recalls The Cocteau Twins without a shadow of a doubt, the four-piece band from Hamilton, Ontario, proceed in similar fashion only the influences broaden with mainly dreampop and psychedelic references taking hold, yet there are leanings towards surf rock as well. ‘L.A. Sunset’ is the kind of single that is made for those seemingly endless halcyon days of summer, and one that evokes more recent artists MGMT and Empire of the Sun where both achieved similar feats with the kind of sun-kissed indie psychedelic pop that The Crowleys are touting in 2017. Long may these rays of sunshine continue via The Crowleys and their definition of ‘L.A. Sunset’.

Having praised the single ‘Paranoid’ from the rooftops earlier in 2017, Norwegian singer-songwriter CAL continues where the former single left off (included here as part of the EP). By adopting a new alias and setting real name Frida Amundsen on hold for the time being at least, the new direction CAL is pursuing is one largely steeped in pop music, but one that is less concerned with the frothy commercialism of the mainstream as ‘pt. 1’ represents something far more detached and isolated. Such instances can be heard during opening track ‘Charlie’ that is full of melancholy and icy beats and suffers from a heavy dose of rejection. The following ‘Fragile’ suggests comparisons with Kate Bush and Tori Amos in the vocals, and offers lines such as, “If I had a super power, I would get myself a break,” giving way to the idea that a severe breakdown in communication of the relationship kind has occurred, but at least the chorus offers some solace as it melts the senses, especially via its glorious backing vocals. ‘When I Grow Older’ is the lighter of the bunch with a far more instant and catchy appeal that provides balance to a very good EP.

Grab yourself a rather large pot and throw in the ingredients of pop, punk and alternative rock with a little emo, and then stir continuously until you solidify the mixture and come up with A Will Away. Such a concoction is music to our ears because the melodic tunes, combined with raw emotions that A Will Away seem to churn out effortlessly, run aplenty throughout the band’s album ‘Here Again’. With opening song and title track ‘Here Again’ full of nostalgia that tugs at the heartstrings via its tuneful melody and Matt Carlson’s sweet and raw vocals, the band’s latest LP gets off to a perfect start. It can be said that there is a definite scent of Jimmy Eat World to a number of the tracks available here, most notably ‘Pay Raise’ (which is deserved of a wage increase such is its brilliance!) and the summery guitar sounds of ‘Agoraphobia’ where the anxieties expressed are brought out in a splendour of melodic tunefulness that then runs into a similar feat supplied by way of the vocals, only the soreness expressed is sometimes a bit more evident (see previously). There are occasions where A Will Away tend to run down the same musical avenue (‘Better Reluctant’ and ‘Well-Adjusted’), which is something Jimmy Eat World had a tendency to fall victim to, leaving one to ponder that perhaps bands of this ilk would be better served with EP only releases. As it stands, ‘Here Again’ possesses enough saving graces via several of its concluding tracks; namely the glorious ‘The Shakes’, ‘Gravity’ and ‘Into The Light’ to help weed out any familiarity felt, and therefore leave a feeling of contentment rather than abject disappointment.

Turku, Finland, is the location where you will find all-female fronted group Viper Arms and their debut album ‘Black Aura’. With the band taking inspiration from their hometown and the Aura River that divides it, Viper Arms combine a hardedge rock sound with profound lyrics reflecting feelings of despair and loneliness mixed with sleazier ingredients that make up the standard rock ‘n’ roll cocktail. However, far from this album being a clichéd affair, Viper Arms blaze a trail from the start with the driving beat and forceful vocals of lead singer Niina during ‘Time Bomb’. If that wasn’t enough to raise the hairs on the back of one’s neck, then the aforementioned vocals really dig their claws in throughout ‘Lucky 7’, puncturing the surface of its thrash laden rhythm and then continuing to hang on for dear life before hollering nearing its climax, “You’ve got the lucky seven”. Phew! It’s breath-taking stuff. The pace eases once the excellent, and certainly more melodic, ‘To The Wolves’ enters the fray, only to revert to the thunderous tempo from before with the lyrically frivolous ‘Sugar Rush’ that steamrolls by in a blur of electric guitars. Thankfully, Viper Arms understand the notion of balance when it comes to writing and recording an album because ‘Everything Nothingness’ provides such diversity with its ballad-esque qualities that also extends to the (pop) rock of ‘Black Surf’, ‘The Worst Candidate’ and reflective ‘Crossing The Border’. There is one final sting in the tail of this album however, and that arrives via the thrash rock of ‘Sightseeing To Hell’ that will leave your jaw gaping and finger poised to hit the repeat button once this song concludes. Viper Arms may have a few anxieties to deal with, but they’re certainly tackling them head on via a combined effort of steely determination and philosophical reflection that is rolled out evenly throughout the contents of ‘Black Aura’.