Supporting a strong work ethic which has seen the components of debut album ‘Nights Come Alive’ assembled in a time that the Guinness Book of Records should consider for an award, given that the band known as Damokles have only been in each other’s pockets since late 2019. Such an incredible feat once you consider all the restrictions a pandemic has wrought upon this world, and associated problems this has created for many. It’s no wonder that once ‘Nights Come Alive’ gets underway, it immediately gives the impression of a band having strained at the leash for too long, given the wave of emotions that pour out and with only the ventilation holes of its ten-track playlist offering an outlet to do so. No matter, as the short, sharp bursts of post-punk, mixed with indie-rock and emotional 90s post-hardcore provide ample coverage to what lies at the heart of this Oslo-based five piece, which may not always be easily decipherable, but makes it even more fascinating and worthy of repeat visits. Cryptic tales abound therefore, but there are signs pointing to feelings associated with alienation, boredom, and despair. For those in recent memory, debut single ‘Closing Time’ was an angular blow to the ribs and one powered by 80s grunge merchants The Afghan Whigs to those in positions of power and tempted by corruption. Further similarities arrive with even more recent, ‘Bodies Get Bored’, and again the dishevelled overcoat of The Afghan Whigs proving a source, in addition to mining energy from At The Drive-In, with lyrics purporting to similar concerns of dishonesty and its repeated cycles as indicated by its impressive words, “The parasite is as good as its host, The fruit is ripe, Let’s dictate its cost”. Music for the current times without doubt, and with lyricist Gøran Karlsvik possessing an uncanny habit of “right place, right time” mentality when it comes to his creativity and the rest of his projects. With Damokles providing the outlet on this occasion, there appears to be something of the “personal” amidst the growth of ‘Miniature Gardens’, which is also the band’s most marketable commodity given its accessibility via its alternative-rock leanings. ‘Breathtaker’ offers another side to the Damokles’ sound with its considered approach, before collapsing under a familiar weight of post-punk noise. It is from these shoots of creative differences which helps spawn the gothic, theatrical moments of the album’s title track, to quite different yet remaining an irritable ball of noise that is the excellent ‘Ms. Misanthropy’. Damokles has clearly enough ideas in their tank to maintain their current level of output, but one that has by no means reached anywhere near its zenith. Amen to that because album #2 is already in production, suggesting Damokles is already straining at the leash once more. Turbulent times it most certainly is, but with Damokles providing the soundtrack there is much that will resonate here and comfort to be found in this terrific debut.

There is no let up for artist, musician, and songwriter Gøran Karlsvik who dons the mask of CONTRARIAN for third outing ‘Nocturnalian’. Released via the indie imprint Sect Appeal Records, ‘Nocturnalian’ makes connections with, and continues the work left by mammoth debut ‘Hit Singles 2018-19’ and follow-up ‘Anomaly Lounge’. Entering a tunnel that is filled with bright and colourful electronics is where the listener will find her/himself during opening portal ‘Cartoons For Dystopians’; a slowly emerging blend of cheerful-sounding rays of electronica, sparking and fusing with snippets of 80s/90s computer games and soundbite impressions lifted directly from the factory floor. It provides the impression of a long and arduous road littered with confusion and one this Mario Super enters with nothing but his own mind for company. It opens the door to late-night operations and where sleep is minimal. ‘Basement Dweller’ does its best to provide such meaning, and in direct contrast to the brighter sounds of the album’s opening track, with its clouded and constricted electronic sounds clicking and chiming in repeated fashion. It is the sound of contemplation once more and one that eventually manages to find an exit via ‘Hades Operating System’. Despite connections linking these two tracks to the bottommost level, ‘Hades Operating System’ is the springboard to a different route from its controlling station, with breathing apparatus applied before its electronic ascent. It drops a massive hint to filmmakers looking for an appropriate track for their film score, and one instantly supported by the interplanetary ‘Game Over V.2’; a track of considerable depth and filled with rich textures and appropriately so given the colossus journey ahead. The contemplation continues for the rest of the duration of the album and with interesting outcomes from cheerier-than-it- sounds ‘Want A Happy Ending With That?’ given its colourful notes blossoming, before ending in a far grounded sound congested by overlapping chatter and muffled beats of ‘Busy Signal At The Self-Help Hotline’. Latest, ‘Nocturnalian’ is a detailed account of sleep deprivation where thought processes are at once blurred as they are clear. Contrarian achieves all of this by successfully fusing ideas and sounds to provide a picture of a soul working through various emotions with electronic equipment the best source of communication.

Coming out of lockdown, Three Star Riot keep the creative momentum going with the brand-new single ‘Golgotha’. Clocking in around the two-minute mark, this latest song from Three Star Riot reveals a band with a conscience where socio-political thoughts infiltrate its words and leaves one with an afterthought of, and to cite one of their heroes, a “thinking persons” The Living End. Therefore, with much to offer, ‘Golgotha’ rumbles along at considerable pace and remains concise in its overall execution via a sharp rhythm of rumbling upright bass, a gruff vocal, and rapid guitar. In other words, ‘Golgotha’ is a song you can set your watch to, and all the remarkable considering its brief stay yet somehow managing to shoehorn in much food for thought via some interesting social and political commentary.

After releasing phase one of her debut album ‘Strangers/Lovers: Side A’ last summer, DAGNY issues phase two of said album. With ‘Side B’ submitted a few months later during the same year, FLW arrived a tad late to the second half of this full-length LP. However, any decision to submit feedback of DAGNY’s debut offering was always on the cards due to being mightily impressed with ‘Side A’. With a colossal number of tracks considered before entering the recording studio in Oslo, a final figure of twelve tracks was decided upon to make the final grade. Focusing on ‘Side B’ of ‘Strangers/Lovers’, singer-songwriter DAGNY (full name Dagny Norvoll Sandvik), the immediate connection with these tracks is the subtler tone of the music on offer. Heartbreak is central to the narratives of these final songs, where much reflection is given via the emotionally raw ‘Bad At Love’ with its pared-back arrangement of vocals and barely audible piano adding to the overall mood. There’s toned-down pop such as the memory-driven ‘Moment’, which continues in similar fashion during ‘It’s Only A Heartbreak’ and stirring finale ‘Coast To Coast’. It has taken some time to arrive, but the wait has been worthwhile as DAGNY has written and recorded a debut album to be proud of, and one that will stand the test of time.

An electronic sound with a dark, atmospheric touch can be heard via latest single ‘Vexilla’ from independent outfit Aryokal. The new track features a hands-on approach from duo Antti Ruokola and Pekka Loponen, with Antti Ruokola responsible for the band’s compositions, programming, and production duties, and Pekka Loponen handling the vocals. What the listener can expect is a lengthy brooding track where minimalist, electronic pulses keep momentum in the background and allowing for an almost free-flowing piano to roam and taking its inspiration from jazz music. There is, however, an interesting turn in the single ‘Vexilla’, punctuated by a halfway point where the previously spoken word feel of the vocals breaks out into a more full-bodied voice, and with the electronic sounds becoming far more prominent. Hopefully, Aryokal is in the planning stages for a full album given the intriguing qualities of current release ‘Vexilla’.

Adopting a novel approach to her debut album release is DAGNY. Having written an impressive number of tracks, two hundred and fifty to be precise, in addition to taking part in numerous sessions and recording studios the world over, the singer-songwriter Dagny (full name Dagny Norvoll Sandvik) entered Livingroom Studios in Oslo during 2019 to finalise the tracks for the first half of debut album ‘Strangers/Lovers: Side A’. Seeking a common thread throughout the album, the aforementioned “novel approach” was taken as a result of sifting through eighteen months of work and realising that all songs from this period were good enough to make the cut for the debut record; hence the debut album being split in two for two separate releases. Focusing on the first half of the record, ‘Strangers/Lovers: Side A’ is full of pop songs that are bright as they are bristling with intelligence. Such examples can be garnered from the gradual awakening that is ‘Come Over’, to sleek electronic beats steering ‘Somebody’ and its joyous realisation of love echoed by its words. What goes up however, also tends to come down as the emotions suggest during the tail end of this debut record, best served by honest admissions of ‘Let Me Cry’. An exceptionally good start is ‘Strangers/Lovers: Side A’ and one that, no doubt, will become even more clearer once its imminent second side is released.