Pulling a draw faster than Billy the Kid himself, Kentucky-raised Sturgill Simpson, who now happens to be a resident of Nashville, makes a swift return with second album ‘Metamodern Sounds In Country Music’. Where debut offering ‘High Top Mountain’ excelled in tailing a steady line to the traditions of country music, as well as offering heartfelt emotions regarding family members or various frustrations concerning life’s career choices or lack of them, ‘Metamodern Sounds In Country Music’ pursues more or less the same path, only the emotions expressed are those scraping the bottommost depths of despair. With songs alluding to such periods of hopelessness, often the result of experimenting with life’s darker side as well as suffering from depression (‘Life of Sin’, ‘Voices’, ‘Long White Line’), there are also moments of hope with ‘A Little Light Within’. However, far from being a miserable experience, ‘Metamodern Sounds In Country Music’ is nothing but an enthralling ride of traditional country, with some nice touches of additional strings during lead track ‘Turtles All The Way Down’, but also one that benefits from a rawer edge in the guitar department and best experienced from ‘Life of Sin’ and ‘Living The Dream’. The wildness truly reveals itself, however, when the appropriately named ‘It Ain’t All Flowers’ sets its reverse course with guitars sucked through a vortex amidst fevered howls as the comedown digs its claws in. The nostalgic trip down memory lane of ‘Pan Bowl’ is the perfect conclusion, considering all that has gone before, and further reason why ‘Metamodern Sounds In Country Music’ is an extremely important record not only due to its inventive side, but for its honesty when chronicling life’s mistakes.

Latest album from singer-songwriter Ray LaMontagne sees a departure from his more straight folk roots sound as ‘Supernova’ lends itself to the psychedelic pop and country-rock sounds prominent during a late 60s and early 70s San Francisco. Producer Dan Auerbach (Black Keys) services were called upon to help with the sonic layers of ‘Supernova’ that is certainly a lot brighter as introductory song ‘Lavender’ indicates with its summery hazy feel created by use of reverb on the  vocal, gentle strumming of acoustic guitar and use of Mellotron. The opening bars of ‘Pick Up A Gun’ blooms into a kaleidoscope of sounds and sees LaMontagne taking several steps further into less familiar territory and one full of psychedelics as there is a real sense of wanting to forget. In keeping with the dreamlike qualities of several of the songs on offer here, the lyrics offer little by way of clues to their overall meanings as LaMontagne has suggested: “Some songs are like riddles, or puzzles, an unknown begging to be figured out,” only this may take some time. Whether ‘Supernova’ is the way forward for Ray LaMontagne only time will tell, as there will be those who lament this change of direction whereas others will undoubtedly welcome this fresh approach and openness to greater experimentation.

Basko Believes, real name Johan Örjansson, is a Swedish singer-songwriter who took it upon himself to tap into his lifesavings and head out to Denton, Texas in order to record latest album ‘Idiot’s Hill’. With musicians willing to offer their services from the likes of The Polyphonic Spree, Israel Nash Gripka and Midlake, Basko Believes has created an album that nestles in the category marked Americana but at the same time allows for other influences consisting of soul, pop and indie guitar rock. Take the epic qualities of the inch perfect ‘The Waiting’; a song that steadily builds and seemingly grabbing an extra instrument along the way to add to the layers of narrative that is full of nostalgia and convincingly told by Basko Believes, who is a mixture of Van Morrison and Ray LaMontagne. There is a great tenderness at the centre of this latest album, but it is one that also draws on various anxieties as depicted by the song ‘Wolves’. While the majority of this album delights in a variety of ways it is the shimmering guitar beauty of ‘Lift Me Up’ and the letter of regret posted to one’s former dwelling rather than the act of physically travelling during ‘Going Home’ with its delicate rhythm of guitars and strings that sets up Basko Believes as a force to be reckoned with.

A culmination of Scandinavian neighbours – Swedish and Danish to be precise – joining forces to carve out the largely blues influenced, with moments of rockabilly, that is ‘Artificial Natural’. Starting in fine fashion is the authentic rockabilly-blues of ‘Wrong Doing Woman’, which picks up a steady pace before letting the apron strings fly with some red-hot guitar that is equally complimented by the interesting spin of the narrative with the central protagonist being female (for a change) and possessing an unhealthy love affair for deviant behaviour. Elsewhere, ‘Hook, Line and Sinker’ plays a game of cat and mouse to a lively tempo and drawing more on a straight blues influence. There is humour present with ‘She’s So Skinny (She Can Hide Behind A Fishing Line)’ that is also a reflection of the changing nature of the generational eras that suggests a big difference in terms of the one these Kokomo Kings reside in mentally, and the one they actually find themselves in. Such a theme is taken up once more with the title track ‘Artificial Natural’ that finds the aptly-named Harmonica Sam severely scratching his cranium in a bewildered state due to an increasing trend for cosmetic enhancement. The charm offensive of ‘Charmageddon’ opens the door to rock ‘n’ roll, as it’s a riotous affair of guitars and harmonica with a flair for dark humour, “She’s so evil, she’s banned from hell”. A chance discovery, The Kokomo Kings ‘Artificial Natural’ is a thrilling ride of rockin’ blues with aspects of rockabilly and rock ‘n’ roll, and one that is extremely perceptive of the changing nature of modern society as the band’s wicked sense of humour reveals. There is nothing artificial to report when it comes to The Kokomo Kings.

Returning with a fresh set of country rock ditties from the Norwegian county of south Trøndelag, Bøgdabråk has steadily built up a name for themselves on the live circuit, as well as maintaining their roots with the traditional ‘trønderfest-culture’ that is particularly special to the inhabitants of Trondheim and surrounding areas. With two albums already behind them, Bøgdabråk release album number three ‘Gå som det her’ which consists of eleven tracks delivered in specific dialect from the band’s main region. Central to the creative compositions of this latest album is vocalist Leif Inge Hopstad, who has not only penned all of the songs but contributed production duties as well with producer Tony Waade. The end result is an album with energy in abundance as clearly displayed by the driving opener ‘Han der’ (‘Him There’) and ‘I kveill’ (‘This Evening’); the latter of which packs an addictive chorus and the perfect accompaniment of female backing vocals and fine guitar work that sees Bøgdabråk clearly enjoying themselves. The Bøgdabråk tempo is taken down a notch during the ballad ‘Håp’ (‘Hope’) and exquisite delivery of ‘To på natt’ (‘Two At Night’) that finds Leif Inge Hopstad in superb form vocally. The energetic and catchy guitar thrust of ‘Vinterland’ (‘Winterland’) and equally matching ‘Sånne Kara’ (‘Kind Kara’) are good enough to grace a Tom Petty album, if ever the need arises, because Bøgdabråk have a knack of churning out memorable, hook-laden country rock songs that reside long in the memory bank once ‘Gå som det her’ has ceased playing. Catch the band live on their forthcoming tour in support of this inspiring new release as Bøgdabråk cannot fail to disappoint considering the overall quality of ‘Gå som det her’.

Discovering ‘Out Among The Stars’ was definitely the equivalent of striking oil for the first time during the Gusher Age in Texas in the early 1900s. The reason for such enthusiasm marking this latest discovery of forgotten Johnny Cash studio recordings is for the simple reason that the twelve songs listed (track thirteen being a remix) here have never been released before, making this album a brand new product rather than a rehash of previously released material with the usual bonus additions of demos, outtakes and alternate versions. The songs making up ‘Out Among The Stars’ were originally recorded in Nashville in 1981 and 1984 with Billy Sherrill controlling production and contributions by way of June Carter Cash with ‘Baby Ride Easy’ and ‘Don’t You Think It’s Come Our Time’, as well as Waylon Jennings lending vocals to Hank Snow’s ‘I’m Movin’ On’. The discovery itself is credited to John Carter Cash – the son of Johnny Cash – who happened to chance upon the songs in the vaults of Columbia Records after many years of neglect until now. Indebted for this wonderful find, ‘Out Among The Stars’ is a solid body of work and a welcome addition to the musical legacy left by Johnny Cash.