Singer-songwriter Jen Lane has made a name for herself back home in her native Canada and, more specifically, the Western Canadian music scene. It was this very region of Canada that seriously took note of Jen Lane’s first two album releases, ‘Sleepless’ (1999) and ‘Injection’ (2002); with the former album receiving a nomination for a Prairie Music Award when the Canadian songstress was just 16 years of age. Further recognition of her musical prowess came by way of Lane’s self-titled 2006 album, and the 2010 follow-up, ‘For the Night’, with both albums being nominated for Western Canadian Music Awards. Bringing things up to date, Jen Lane’s new long player ‘This Life Of Mine’ arrives after some time on the sidelines due to a physical injury that saw many hours in and out of surgery. With that period behind her, Lane didn’t hesitate to recruit former collaborator and producer John MacArthur Ellis to produce once more, in addition to the musicianship of Nick Stecz in order to finish the songs making up her latest, and fifth album. By taking in elements of country, roots, folk and Americana, Lane has created an album rich in sounds, but one that also refers to a series of personal aspects from her life as well as observations of those around her. Starting off with the gentle country sway of ‘Waitin For You’, Jen Lane’s vocal is golden as are the instruments as there is a warm, welcoming haze surrounding this song. There is a country pop ambience to the fractured relationship of ‘Movin On’ that shifts from such a depressed state to one of frivolity via the ‘1st Day Of Spring In Saskatchewan)’. Taking a break from her own songwriting, a cover of Big Star’s ’13’ is thrown into the mix and it’s a more than admirable rendition. However, it’s Lane’s own compositions that are of most interest here, with the reflective country ballad ‘My Man’ and melancholic, yet beautiful ‘Hollow Heart’ that impress greatly, making ‘This Life Of Mine’ an album definitely worth owning.

After last year’s ‘Stand Your Ground’ EP, Scout Killers roll out their alternative-rock sound by way of new release ‘Rip Me Apart’. The formula is changed in terms of the format as ‘Rip Me Apart’ is issued as a single only, with more plans to continue this trend with a series of single releases. Prior to the official release of this new single from Scout Killers was the filmed footage of the band performing a number of songs including a stripped back version of ‘Rip Me Apart’. With that first taste of ‘Rip Me Apart’ still fresh in the mind, the version committed to tape is beefed up somewhat, and reveals a band clearly growing in stature. The tell-tale signs are the various nuances that can be heard whether a slight dash of Tom Morrello’s guitar or the passion and drive of a Pearl Jam track during ‘Rip Me Apart’. But the Scout Killers is definitely delivering their own signature as well, with the vocals of Scott Cox maturing nicely by revealing deeper and richer qualities, in addition to this five piece willing to explore all corners of this latest single by giving the impression of stretching its sound in places. This is a band that really cares about its craft as you can hear it in both the instruments and vocals, and this is why Scout Killers matter so much.

If you’re seeking something with a bit more originality behind it, then you’ve come to the right place with Wonky Tonk and the album, ‘Stuff We Leave Behind’. By holding a suitable moniker considering the wide array of influences skewered into the ‘Stuff We Leave Behind’, Jasmine Pool (aka Wonky Tonk) remains a fiercely independent artist willing to bend the rules when it comes to a number of genres by applying her own touches, and bringing out a largely country sound fused with elements of folk, indie and pop music. With her actual roots stemming from a love of punk music, the attitude of this genre goes some way to explaining the amalgamation of sounds making up Wonky Tonk’s latest album. With ‘Turn The Radio On’ providing a stirring entrance with it’s a cappella delivery, and then switching to the jaunty country-rock rhythm of ‘Cleveland’, complete with an audacious mix of 50s soda-pop backing vocals and a lead vocal that is definitely entrenched in the formerly mentioned punk roots, Wonky Tonk wastes no time in getting her influences across. The differing styles continue apace with ‘Billings, MT’ and ‘Montague Road’ possessing a 90s indie feel via Throwing Muses, Juliana Hatfield and The Lemonheads, before offering a reflective indie-acoustic number via ‘Denmark, which just happens to be one of the countries this Kentucky-bred singer songwriter has flaunted her music previously. Despite the various shifts in tone, ‘Stuff We Leave Behind’ works as a whole surprisingly well, and perhaps best illustrated with the honky tonk inspired ‘Washington Avenue’; gorgeous ballads ‘Tennessee’ and ‘One For The Juke’, and therefore making this album a rather essential acquisition.

Picking up comparisons with the likes of Jeff Buckley, Paul Simon and Ray LaMontagne is the new album ‘Breathing In’ from singer-songwriter Dan Lipton. With a sound that fuses the traditional sound of Americana with story-based blues, in addition with Appalachian country and world music, Dan Lipton displays such influences throughout his current album comprising of twelve self-penned songs. The album ‘Breathing In’ was a lengthy process, having utilised a number of empty cabins from Maine to Virginia to seek the right atmosphere for each, and every track in terms of their recordings. What Lipton ended up with is a close intimacy that can be heard in such songs as the tender and sore ache of ‘Dark Water’, and softer pop tones of equally good ‘Come On Georgia’. There is great care taken with all the contents of ‘Breathing In’, which is echoed in the quality of the recorded works where songs can sound bright and colourful by way of its title track and near jaunty rhythm of ‘MTA’. For those seeking that singular moment with the songwriter, then the wistful ‘Wings Of A Crow’ is a fine place to start, with Lipton in fine vocal and occasionally supported by a faint yet soothing backing vocal. It’s Lipton’s song writing qualities that really impress throughout with his ability to name a song ‘End Of The World’ yet give it an upbeat feel, as well as transform the lonely isolation of ‘Television’ in to something warm and engaging via its country roots. A master in his own field, Dan Lipton has just delivered an album of supreme quality, and one that is definitely worth ‘Breathing In’.

Slipping under the radar at FLW, and therefore being a late discovery, is the album ‘Blinded’ by Norwegians, Ask. Assembled together with the softest of touches and built around the vocals of Andrea Ettestøl and Simen Lyngroth,  ‘Blinded’ often produces a sound that is pared back and probably best described as indie folk with a few splashes of pop influences here and there. Overall, such an approach works wonders as ‘Wintersong’ illustrates via its acoustic and electric guitars and female – male vocal exchanges, which gradually lead the song to a dramatic conclusion. From such an impressive opening, Ask refrain from repeating the same moves by adding the complex ‘Deny’ to the menu; a song full of varying shades of detail but managing to sound effortless in places as well as finding the time to add a bit of brass instrumentation, which is a very nice touch indeed. ‘Everybody Knows Your Name’ sees Simen Lyngroth take up the initial baton before linking up with Andrea Ettestøl  to deliver a fine combined effort, and one that is accompanied by a brushed feel to the instrumentation that trips along wistfully. The acoustic folk of ‘You And Me’ is full of intimate moments, and then followed by the eccentric tone of ‘Medium Street’ wonderfully portrayed by a fascinating narrative involving life choices or lack of them. ‘Blinded’ is full of such details that can weigh heavy at times just as easily as they can sound light and fleeting on other occasions. It’s honest and it’s real and it’s packed with creative endeavour, Ask is definitely on to something good via their album ‘Blinded’.

Stemming from Denver, Colorado, Cult of the Lost Cause is a powerhouse of post-metal sound skilfully bolted together by the trio of Mike (drums), Thom (bass) and Mhyk (guitar). The band’s efforts can be heard during latest album ‘Contritions’ that contains former post-rock instrumental single, ‘The Drowned God’. It’s this former single that really sets the tone for this new long player, where instruments give various expressions of soaring and dipping with numerous gear changes that crunch and grind along the way. With ‘Contritions’ being recorded in the band’s home city of Denver at Flatline Audio with producer Dave Otero (Cephalic Carnage, Khemmis, Native Daughters), the attention to detail is to be admired. From the tumbling drumroll and short instrumental injection that is ‘All Those In Favour’, and then flipping in an instant to its rival in opposition, ‘All Those Opposed’, with its guitar heavy (not in all places) and overall expansive sound, Cult of the Lost Cause clearly understand the art of expressing their sentiments through their instruments. Rather than being lumped in with an Explosions In The Sky or This Will Destroy You, for example, the three-piece from Denver offer an altogether more caustic and thicker sound, while still containing the occasional sweeter edges held in ‘Hessian Crucible’ and ‘The Cloud Collector’. A true delight and emotionally stirring via its instrumentation, Cult of the Lost Cause deliver in style via ‘Contritions’.