No doubt viewed by some as an unnecessary exercise when it comes to producing (more or less) carbon copies of the songs of Johnny Cash, but not so for the men in black known as Johnny Horsepower. What makes this trio of musicians standout is their location of Denmark that is far removed from the original man in black’s upbringing, yet mirror that early rockabilly sound they most certainly do and with a few of their own compositions thrown in for good measure. In fact, it’s one of Johnny Horsepower’s own songs that captures the attention from the off with ‘The Story Of The Man In Black’ that doubles up as a tribute to Johnny Cash as well as paying its respects to the early foundations of the rockabilly genre by namechecking Elvis, Carl Perkins et al. ‘Hey Porter’ is a sweet reminder of the basic charms of the aforementioned early roots of rockabilly and remains lodged in the memory bank for days after it has finished spinning. The rest of ‘The Band In Black’ speaks for itself with authentic and inch perfect deliveries during ‘Let The Train Blow The Whistle’, ‘Wanted Man’ and the dark and wry tones of ‘I Didn’t Shiver’ that was one step ahead of Nick Cave & the Bad Seeds fame. If there is a downside to this album, and unfortunately there is, it can be heard from the small cluster of songs beginning with ‘Folsom Prison Blues’ where the band enrolled the talents of W.S. Holland on drums and made the decision to record these songs live. Nothing wrong with that decision of course but, unfortunately, the live setup sits awkwardly with the rest of the LP and would have served far better as an EP in its own right. Small gripes, but definitely warranted when the album ends up sounding like two separate entities. That said, ‘The Band In Black’ is a must for all fans of Johnny Cash and those who simply enjoy the early primitive sounds of rockabilly.

Norwegian country artist Arne Benoni teams up for a duet with fellow country artist Tone Holen for latest single ‘Vagabond Boots’. With this brand new ditty serving as the title for Arne Benoni’s new LP as well, the current single appears to deal with the loneliness experienced after the demise of a relationship and the seemingly endless drift into the unknown as well as thoughts of prospects new; hence the lyrical refrain “Wearing out my vagabond boots” in the hope of “Sidewalks still unknown”. It makes for compelling listening which, coupled with the aching qualities of the music expressed by way of country and rock music via its guitars, ‘Vagabond Boots’ is a moving ballad that stirs the emotions and sounds effortless in its delivery. Such a feat is hardly surprising considering the two Norwegians at the heart of this song and the wealth of experience that they bring. ‘Vagabond Boots’ has found a definite welcome home at Famous Last Words (FLW).

Lovingly described as “experienced EDM producers, DJ’s and hermits”, the Finnish partnership of two childhood friends from a remote and rural region of northern Finland, conjure up a sound that is pure 80s pop mixed with heavy use of synths and references to (according to their press bio’) “Italo-disco” or perhaps, more accurately, European electronic music. With this latest release by KOSAN being a double A-side single, it becomes clear why the duo made such a decision considering the strong merits of both tracks. A comparison of the two reveals that ‘Hearts On Fire’ possesses a more up-tempo rhythm made up of bright and shiny synth sounds complete with electronic drums, intermissions of eighties guitar and machinelike vocals. The flipside, ‘Important Nights’, is a slightly more sombre affair that gives the impression of being very reflective with its moodier and late-night tones and, interestingly, for containing a break approximately halfway through that steers this atmospheric electronic piece in what sounds like a change of direction. Very impressive indeed.  A strong, two-track single that bodes well for the rest of KOSAN’s journey via electronic synth pop if they so choose to accept this option.

Is this truly goodbye? Well, quite possibly for the assortment of characters including Trixie Marmalade, Mr Orlando Bloom, and Uncle Beefhart considering he’s a distant relation of the original forefather of the weird-out cauldron of blues, jazz, alternative rock (Yes, only the term hadn’t been coined back then), etc. Of course, let’s not forget the main Space Cats here from Jupiter, who seem keen to head to destinations new but not without leaving a rather terrific parting shot with their brand new album ‘Goodbye Earth’. There are changes afoot with this sophomore effort with the heavy psychedelia from before toned-down, and in place more deliberated efforts such as the beautiful intro ‘Waltz for Yellow Spectral Star’ (Ringo Starr Yellow Submarine is scribbled on the notepad but no resemblance in sound) where guitar and keys combine slowly and steadily building a wall of noise that eventually allows for Kristine Marie Aasvang to apply vocals to the cacophony where one can sense the bags are packed and ready for loading on deck as this ship is heading skywards and deep into space. In order to get there, the Harvey Steel show let the engines ignite and burn brightly via The Doors inspired ‘Hunting Shadows’ where sundried, cracked desert landscapes appear and then close from view in flashes of darkness only to reappear before the exit from Earth looms and then closes its gates for the final time behind wails of feedback. It remains their finest moment and a song to be TRULY proud of. Once in space the intermission kicks in with the delightful sound of ‘If Pigs Could Fly’ that is at once frivolous yet also leaves one to ponder due to the chilling afterthought, “If you think you’re free, there’s no escape possible”. A whole melange of styles clash during ‘Impressionistic Umbrella’ that is (take your pick) part New Wave, part blues and a different take on the Grease soundtrack, if you will, revealing the charming side of this band. Poor old Orlando! A previous single, and more a reflection of what’s wrong with this planet, ‘Orlando Bloom’ throws up society’s wrongdoings whilst playing out in part to a soulful shuffle that is reminiscent of the Mr Soft character that Noel Gallagher famously talked about with regard to a certain Oasis number. Elsewhere, the Harvey Steel show flex their version of the blues, and skilfully so, with the compelling ‘Red Queen Blues’, and then proceed to produce the wonderful jazz turn, ‘Outer Space (part 2) which, unfortunately, is trimmed too short. The final statement arrives by means of ‘Waltz for Trixie Marmalade’ that borrows from Radiohead’s ‘Fitter Happier’ with its synthesized voice that eventually allows the entire contents of ‘Goodbye Earth’ to disappear into the black hole of space with predominantly the sound of jazz leaving its mark. A masterclass in how to combine surrealism with reality and make the whole project gel consistently, the Harvey Steel show has just upped their game. Hopefully, this is not their final statement.

BODEGA SISTERS is the new outlet for five musicians from a clutch of other groups such as Gorilla Cult, Haschan Luego, Ave. L and Midvinterblot. With these band members coming together to form a super group if you will, their first official release is a single that is made from the components of shoegaze, krautrock, and 80’s synth pop, and has been given the name ‘Btwn. 1st & A’. The song goes about its business by bringing together the aforementioned genres, and ends up transmitting these combined sounds as a continuous loop of guitars and electronics that gathers pace and glistens brightly in contrast to the (intentionally) dour main vocal. With lyrics reading like poetry and ‘Btwn. 1st & A’ forced to apply the brakes nearing its end where guitars give the impression of sparks flying via its feedback, Bodega Sisters provide much to think about with ‘Btwn. 1st & A’, which can only be a good thing.

Tatsuro Kojima hails from Japan and has previously recorded two albums via Audiobulb Records in 2012 and 2015. Being a self-taught musician, the ambient creations Tatsuro Kojima produces throughout latest album ‘a – > b’ are suited to such a background where the need for freedom and flexibility are definite requirements where sound creations remain free of any constraints that a more structured and formal education may bring. With Kojima’s sounds being described as “closely connected to his visual approaches,” this is certainly true of ‘a – > b’ where there is a feeling of walking through various scenarios recording the everyday by means of observation and practical techniques developed from field recordings and use of synthesizer and electronics over the years (the recordings found here began in 2011). The album ‘a – > b’ makes for compelling listening and really deserves to be heard for those interested in the finer details of life.