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Floating Blood Of Mine

Released Out now

 

Floating Blood Of Mine (single)

Sleep Party People

Riot Factory

Denmark’s Sleep Party People return with a new single ahead of a full album release planned for the end of May 2014. ‘Floating Blood Of Mine’ reprises the long overdue return musically of 90s shoegaze, and one of the pioneers of this particular sound The Cocteau Twins, as Brian Batz – the man behind the moniker – dreams up an instantly memorable soundscape full of drifting and soaring guitars complete with a thin veil of vocals that greatly compliments the vapour trails of sound left suspended in the atmosphere long after this song has ceased spinning. With two critically acclaimed albums behind Sleep Party People, the third chapter looks set to continue this trend considering the emotive sounds emanating from ‘Floating Blood Of Mine’.


Next Plane

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Next Plane (single)

Alida

Sony Music Norway

Alida is currently the name causing a stir as far as Norwegian radio is concerned and the reason for increasing levels of interest on certain media playlists, which has seen this songstress from Jæren in Rogaland rocket her way to the top of the pile with this follow up single after the much-admired ‘Feathers’. Clearly, ‘Next Plane’ was built around Alida’s charismatic vocal as it ushers in from the start the rest of the components of the song – comprising of subdued yet atmospheric electronic beats – while remaining deep in reflection as the realisation dawns that a saviour is not emerging anytime soon. The next stop for this rising new talent is a mini-album, which is a tantalising prospect considering the lofty heights ‘Next Plane’ has already set. Watch this space.


Grown Up

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Grown Up (single)

Emilie Nicolas

Sony Music Norway

Emilie Nicolas takes a bow with the first instalment from her forthcoming long player due this year. The song causing a bit of a commotion is the wonderful slow burner that is ‘Grown Up’, which sounds as if it’s coming from a small remote corner of the Norwegian landscape such is the sparseness of the ingredients used. The lack of instrumentation compliments the beguiling fragility of the vocal held in ‘Grown Up’, as the song recounts a coming-of-age tale that could easily be mistaken for a separating of the ways after a troublesome relationship. Either way, Emilie Nicolas’ debut album should be one to savour judging by the qualities shown of ‘Grown Up’.


Paloma Faith

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A Perfect Contradiction

Paloma Faith

RCA

Visually entertaining as well as musically, Paloma Faith is back with her third album ‘A Perfect Contradiction’. With its continuing theme of rich colours when it comes to the artwork and sense of nous by calling on the talents of Pharrel Williams to help co-write recent single ‘Can’t Rely On You’, the ‘contradiction’ implied in the title is perfectly misleading as Paloma steps up another creative gear and one that is consistently better than its predecessors. Nowhere is this more evident than the aforementioned Williams/Faith collaboration ‘Can’t Rely On You’, that is full of old school dance beats but given a modern gloss and narrated with a sassy vocal that will have you reaching for the repeat button. The traditional flavour is also captured in ‘Mouth To Mouth’ with its 80s pop influence but this time finding Paloma Faith in more restrained manner but nonetheless still compelling. The lure of Motown is all too much for ‘Take Me’ and accompanying ballad ‘Only Love Can Hurt Like This’; the latter of the pair revealing a vulnerability in the Paloma Faith exterior. There is a brief hiccup with the rather pedestrian ‘Other Woman’ and its familiarities with other female artists of similar ilk, but fear not as this songstress finishes in style with red-hot ‘Trouble With My Baby’ and shifting style of ‘Love Only Leaves You Lonely’.


Mø

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No Mythologies To Follow

Chess Club / RCA Victor

Resembling nothing in relation to her personal record collection during her late teens with Sonic Youth and Black Flag particular favourites, Danish artist Mø (Karen Marie Ørsted) breezes in with a debut album that is full of electro-pop and moody electronica that is ‘No Mythologies To Follow’. There is a cool, mid-tempo pulse to ‘Maiden’, complete with a vocal that seems to spend its duration in the shade and remains full of curiosity. All the clocks stop during ‘Never Wanna Know’; a deeply touching ballad that resonates due to the hollow effect created by its use of percussion and giving a real sense of loss that is reminiscent of Scott Walker when in such a frame of mind. Much as has been said of Mø’s vocal capabilities and pop leanings which certainly come to the fore during the infectious ‘Red In The Grey’ and even more persuasive ‘Pilgrim’ that will certainly appease fans of both pop and indie music. Looks like Denmark has an imminent star on their books as ‘No Mythologies To Follow’ is tapping into a number of genres yet shaping a path that is distinctly Mø.


Fire Away

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Fire Away (single)

Ilias

Untitled

With the moody atmospheric film that was Nicolas Winding Refn’s Drive, latest effort from singer-songwriter, and sometimes producer, Ilias is not a million miles away from the neon lit urban landscape of LA that provided the backdrop to this near masterpiece. ‘Fire Away’ was actually written around the time of recent fires that devastated parts of the Australian countryside, but there is no escaping the film score concept that influences this song. Incorporating this broader vision is the additional European flavours, that lend themselves to the aforementioned urban landscape of LA by means of electronica that knits together late-nineties flitting drum patterns and a distorted guitar for those larger splashes of sound, giving the impression of darkened clouds rapidly forming and then fully realised by way of a short yet compelling guitar riff. If the vultures are beginning to circle overhead due to sensing a sizable meal at the end of the line considering the general attempts at dispersing that ‘Fire Away’ provides, then never has such an ominous atmosphere sounded so welcoming.


A Walk in the Space Between Us

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A Walk In The Space Between Us

Side Effects

Sony Music Norway

Sounding as if they just stepped out of a northern town in England (and Wales – see below) rather than the more idyllic surroundings of their native Sweden, Side Effects release their first album ‘A Walk InThe Space Between Us’. The close resemblance to the musical scenes emanating from the upper regions of the British landscape from the ’90s onwards is all too evident in sound, but minus the attitude, as Side Effects follow similar paths to those mined by The Coral, Super Furry Animals and a latter-day CAST, judging by the Swedes penchant for a dash of psychedelia with their afternoon tea in terms of what’s on offer here. This is all great stuff, of course, as ‘A Walk In The Space Between Us’ is an accomplished achievement and something to do with the fact that the band have been together since Sixth Form College and showing no signs of days idly wasted considering the dynamic thrust of opener ‘The Space Between Us’. The persuasive charm of ‘Feel Flows’, however, was built for lazy summer days and is followed in similar hazy fashion, before picking up a second wind, by the beguiling curiosity that is ‘Monster And The Bird’ with its suggestion of trying to be two sides of a personality that is all too much. There’s a robust edge to ‘Month Of Mist’ that becomes drowned out by its successor ‘Absence Of Control with its heady psychedelic indie rock and flashes of near feedback yet managing to hold itself together despite the implications of its song title. ‘A Walk In The Space Between Us’ is a confident debut that will have you gripped from the off, and one that comes as a pleasant surprise in terms of its appeal considering the short distance in time when bands of a similar ilk were hogging the front pages on a regular basis.


Speed Of Sound

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Speed Of Sound (single)

Frøder

Sony Music Norway

Fresh off the mark with a debut single is Frøder with ‘Speed Of Sound’ that is currently doing the rounds on NRK’s P3 (Norwegian radio station) and not difficult to understand why such is the immediate appeal of the vocal delivery. Comparisons can be drawn with Florence + The Machine, especially considering the heavy use of electronica intspersed with strings that is at one moment pondering in its approach before rising to considerable heights during its chorus. On the evidence of this first offering from Frøder, there is no question of this Norwegian loitering in the wings any longer as ‘Speed Of Sound’ looks set to continue its rapid trajectory even before there is any mention of a full length player. A very impressive start indeed.


backonthehorse

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Back On The Horse

The Skinner Group

EmuBands

The wait for an echo has been a lengthy one until now that is, as Grahame Skinner finally makes his long anticipated comeback under new moniker, The Skinner Group. The title of the new album is one that is definitely open for interpretation, having interviewed Grahame Skinner for these very pages, suggesting a mixture of relief at the realisation of new material finally seeing light of day but coupled with anxiety at the thought of the unknown in terms of its perception. Fear not as ‘Back On The Horse’ is a sheer delight from beginning to end with creativity in abundance and enough memorable hooks to warrant a high level of repeat visits. Previous single ‘Surfer Gurl’ revives old memories of Skinner’s former indie outfit Cowboy Mouth, as the song resembles a piece of driftwood from an aborted third album, only given a new lease of life here, with Skinner crooning in fine fashion and pining about the one who got away to a grungy backbeat provided by longstanding stalwarts Douglas MacIntyre and Mick Slaven. ‘Oh Dear ‘ is breezy in comparison, and closer to another former band that hit the heights during the 80s, and would be the ideal candidate for second single such is its infectious rhythm and clever touch with its knowing self-pitying lyrics. The ghost of Hipsway is even more evident during the immediacy of ‘Down On My Knees’ with its 80s style chorus complete with backing singers really giving the game away. In the midst of such familiarities exists new explorations with ‘Something Cinematic’ a prime candidate due to being something of an oddity with its pondering beat, poetic vocal and topped off compellingly by Mick Slaven’s guitar, which is left to its own devices as it scores a red-hot trail right through its centre in a stinging and bad tempered moment of improvised greatness. Elsewhere, ‘Who’s That Man’ could be a personal ode as it reflects on being out of touch with current trends via a warped take – wonderfully executed – on The Beach Boys surf pop before falling headlong into the abyss that is ‘Hole In My Soul’, but not before paying reference to Aidan Moffat on the way down during the song’s fadeout. If this is the sound of Grahame Skinner in the modern state of things, then the decision to get back on the horse was an inspired and extremely wise one.


Agent Cooper

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Agent Cooper

Russian Red

Sony Music Norway

Looks can be deceiving when it comes to ‘Agent Cooper’, the new album from the enigmatically named Russian Red. Behind the exterior lies real name Lourdes Hernández who is one of Spain’s biggest names with an indie rock influence mixed with a deep knowledge of pop music; just don’t expect anything bordering on the mainstream, as suggested by the front cover, because, as mentioned earlier, looks can be… In fact, the whole album is caked in mystery from the cryptic album title to the “look twice in order to see it” ingenious song titles, which could be a reference to a number of past relationships set in chronological order to give the narratives a sense of history to the point of meeting their sell by dates. Musically, the songs are given the same quality control, despite being a touch more immediate than their song titles suggests. The glorious sweeping chorus of opener ‘Michael P’ intoxicates the senses and leaves a lump in the throat with its protestations, “I get so lonely when you’re gone”. Even better, however, is the 80s tinged ‘John Michael’ with its fusion of guitars and keyboards that brings to mind the solid album efforts the likes of The Psychedelic Furs used to include in their works. ‘Casper’ is directed by some fine guitar work that takes a moment to breathe once Russian Red applies the brakes with sumptuous vocals to offer serious reflection on, no doubt, a relationship that turned sour. Triumphing over all, however, is the early minimalist beats and fragile vocal of ‘Xabier’ that almost lasts the distance before crumbling under the weight of its own revelations to the backdrop of guitars set to shoegaze. Russian Red has delivered the package ‘Agent Cooper’ which, if you choose to accept, can be found under the code word: SUBLIME.


Blank Project

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Blank Project

Neneh Cherry

Warner Music Norway

It has been a while since the days of single ‘Buffalo Stance’ and subsequent album ‘Raw Like Sushi’ that really propelled the name Neneh Cherry into the pop consciousness. It comes as a surprise, therefore, that one of the former musical arrangers on Massive Attack’s ‘Blue Lines’, that saw both Robert Del Naja and Andrew Vowles returning the favour by contributing to the aforementioned ‘Raw Like Sushi’, is making a comeback with new release ‘Blank Project’. The wait, in fact, has been sixteen years for Neneh Cherry’s latest solo album that is a collaboration with RocketNumberNine and features a guest vocal by Robyn. Considering the lengthy gestation of this current project, the album itself was recorded and mixed within a mere five days under the watchful eye of producer Four Tet. What transpires is a ten-track album that is often minimalist in its approach and recalling the former ‘Blue Lines’ days with the seriously stripped-back instrumentation of ‘Across The Water’ and dark electronica of the title track, that could have been a candidate for the Bristolians’ ‘Mezzanine’ album. Despite the title suggesting a project void of purpose, the reality is far from it as ‘Blank Project’ attempts to make sense of a number of personal issues and tragedies, as well as the everyday; hence the sparseness and loose creativity throughout, giving the impression of a greatly improvised body of work and one that is distinctly Neneh Cherry due to its insistence on following its own set of rules no matter the rest of the competition. ‘Blank Project’ is a challenging album creatively, and one that makes for persuasive listening.


The Scheen

Released 21 February

 

The Scheen

The Scheen

Artistpartner Records

The Scheen’s debut album finally gets to see daylight after last year’s single release ‘I Am I’. Possessing a front figure that is well known for last year’s participation in NRK’s Stjernekamp, now last year’s chip paper, as The Scheen is an altogether different proposition with its roots firmly set in an indie rock sound. Despite having an ace in their pack when it comes to vocal duties in the form of Atle Pettersen, it would be a great disservice to suggest that The Scheen is anything other than a promotional vehicle to aid Pettersen’s progression as The Scheen is a properly assembled outfit comprising of Tobias Ørnes Andersen, Robin Ognedal, Rein Blomquist and Nickolas Main Henriksen who have been together for some considerable time and, in the process, built up a wealth of experience on the live circuit. With such a longstanding relationship between this five-piece band from Skien (Norway), it is little wonder that first album offering ‘The Scheen’ sounds anything other than accomplished. The impressive opening strum of bass and guitars coupled with Atle’s compelling vocal pulls the listener in from the off with lyrics suggesting an off-kilter relationship with the daily grind of everyday living. If that wasn’t enough, then the pounding beat and fitful sounding guitars holding together ‘I Am I’ really excels with its gritty edge and interspersions of electronica. Despite its glum title, ‘Nothing To Win’ opens the door to a pop influence with an irresistible chorus that reeks of next single contender, which could easily be bestowed to its near neighbour with the sweeping melodic indie rock of ‘The Race’. For the moment, current single ‘Run’ is given that honour and is every bit powerful in its delivery as it is anxious with a concluding tempo giving the impression of chasing down endless empty avenues. The Scheen’s qualities lie in their ability to provide a balanced album that is one moment full of intricacies (‘Sleep In Silence’), revealing the band’s hidden depths, and the other more immediate with the uplifting feel of ‘Ghost’ being a prime example. As far as debut albums go, The Scheen just got off to a very good start.



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