The creative juices just keep on flowing for Tenement mainstay Amos Pitsch, only this latest release falls under a different heading that goes by the name of Dusk.  By pitching this as a single release, and one that is backed with the song ‘Too Sweet’ featuring the soulful voice as well as keyboard skills of Julia Blair, the punk roots of Amos Pitsch’s formerly mentioned main project are traded for more of a traditional rock and roll and rhythm and blues sound that is befitting of his Wisconsin background. With Colin ‘Wild Man’ Wilde joining on drums, Tyler Ditter taking up bass, and Matt Stranger on guitar and backup vocals, the two songs making up this single were largely a self-produced affair, with the record being engineered and mixed at Crutch of Memory in Appleton, Wisconsin, by Amos Pitsch and then mastered by Justin Perkins at The Mystery Room in Milwaukee. The main track itself, ‘(Do The Bored) Recluse’, is a dynamic little ditty that has a bit of early ‘Stones boogie about it with its nods to bluesy rock ‘n’ roll but also one that takes in references from The Velvet Underground to 70’s country rock via The Flying Burrito Brothers. If this single was created out of a state of genuine restlessness in relation to Dusk’s frontman Amos Pitsch, then may those days of boredom continue to plague his soul because this two-track record is a sheer joy from start to finish, and one that sits up there with the best of his creative works.

There is a sense of the unknown surrounding Sigrun Loe Sparboe’s second solo outing, ‘Vindfang’. From the slightest of glances over the shoulder of the cover art, to finding a new home with a major record label and, of course, airing ten new compositions for the first time in the public domain, the sense of trepidation is palpable. The move back to her beloved Harstad, however, proved the perfect tonic when setting about the task of writing the songs making up ‘Vindfang’, as both time and space were found, in addition to the picturesque scenery of the local environment providing much inspiration to help inspire these new songs. Whilst there are various clues indicating a feeling of sailing in uncharted waters, ‘Vindfang’ reveals itself in parts as, musically, a record of steely determination and fresh ideas, but one that is smart enough to not stray too far from its previous sibling, ‘Uten at du vet det’, considering the perfect formula that was concocted for this debut record. It was always going to be an uphill task for Sigrun Loe Sparboe to surpass the previous glory of ‘Uten at du vet det’, but, masterfully, this folk songstress, along with her faithful in-house musicians, has managed to sample various aspects of her debut solo record and apply subtle changes to some of these previous arrangements and runaway with a succession of new songs. Wise judgement indeed as the daydream feel of ‘Paraply’, and title track, ‘Vindfang’, are the two candidates that bear the strongest resemblance to the aforementioned debut album. But there is progression here, and it proves to be Sparboe’s boldest and strongest statements with a beefed-up sound concerning one or two tracks, which are then counterbalanced with songs containing slightly fuller arrangements or, whisper it, considerable deviations from the folk brand. Such examples can be gleaned from the near muscular in its construction of opening gambit ‘Forliset’, as it’s a song with a real edge and bubbling intensity that begins at a slow canter, only to gather pace, where one can sense the fluctuating weather pattern of the northern region of her homeland during the transition from autumn to winter, and captured magnificently here in a mere five minutes. Further progression is made with the pop tones and brisk tempo of ’12 Spor’, that filters elements of folk music but ever so lightly, only to be usurped in the surprise stakes by the pounding rhythm and pop influenced ‘Som Fortjent’, leaving one to holler, “C’est magnifique!” at its conclusion. Clearly, this was not in the script yet these two songs do not sound out of place when nestling between more customary numbers as the stirring beauty of ‘Om Du Fortsatt Vil Ha Mæ’ or the cold, biting rhythm that drives the compelling ‘De Som Frosten Tok’ because there is a genuine cohesive whole to ‘Vindfang’. By guiding this latest album along similar routes, as well as taking risks by diverting away from traditional folk music, albeit in small doses, Sigrun Loe Sparboe is shaping up to be an artist with a definite strong vision and creative flair that is willing to test certain boundaries yet remain respectful to the genre her music is often categorised under. Once the contents of ‘Vindfang’ begins to unfurl and starts to familiarise itself, any notion of a sense of uncertainty soon diminishes, as it becomes apparent that Sigrun Loe Sparboe has successfully hurdled the ‘difficult’ second album syndrome by combining the strongest components of her debut solo record, and then rewriting these, before taking giant strides with a set of new ideas that provides the perfect balance between the old and new, and reveals a genuine natural progression until the third instalment in her career.

Produced by Forrest Lee Jr. and recorded at the Cash Cabin Studios is the debut album from Norwegian country band, Løiten Twang Depot. With a forewarning of troubled times ahead by way of the storm brewing as depicted by the album’s artwork, as well as the title itself a dead giveaway to the contents inside, Løiten Twang Depot is a band that is not afraid to tackle its inner demons head on. In order to do this, the five musicians riding this ‘Trouble Train’ cleverly disguise the emotional turmoil of the lyrics by means of country tunes that are often sprightly and therefore fitting of the American tradition when it comes to this genre of music. Evidence of this approach from Løiten Twang Depot is the light feel, musically, of ‘Devil’s Touch’, with nice use of backing vocals, only it’s a song not to be taken lightly due to having its foundations in a particularly troubled time in lead singer Bjørn Flaaseth’s life, but without giving any direct indication here. ‘If I Give My Soul’ presents a different angle by openly confessing a life turned bad, despite having everything at their disposal, and whether redemption is still within their grasp. It’s the calm delivery of the wrought love affair of ‘It’s All Over’ that also follows the tradition of American country music, where the vocals never resort to histrionics in order to relay its tale despite residing in deep despair. A cover of Merle Haggard’s ‘The Fightin’ Side of Me’ sends out its warning as it’s a song full of patriotism, which in the context of the band performing could equally be referring to their homeland. With Merle Haggard among the influences in relation to ‘Trouble Train’, the song ‘Chasin’ The Sun’ is a tip of the hat to another hero, Johnny Cash who receives a more direct acknowledgment via a cover of his ‘Big River’ composition. By writing an album that fits in with the traditional country sound that America has become renowned for, Løiten Twang Depot provide a timely reminder of what country music should sound like given the current gloss applied to this genre in the 21^st century.

Two volumes celebrating the guitar maestro George Barnes. Volume one ‘Quiet! Gibson At Work’ covers the years 1938 – 1957, with the second volume compiling a selection of Barnes’ work and input from 1952 – 1962 via ‘Restless Guitar’. By compiling two comprehensive albums, the name George Barnes receives a welcome revival as he was at the forefront helping to pioneer the electric guitar during its early years. Not just a jazz session player, George Barnes turned his attention to a variety of genres and earned his stripes by tackling everything from blues, country, rockabilly and rock ‘n’ roll to name but a few.  As mentioned, ‘Quiet! Gibson At Work’ focuses on those early years and really provides a vast amount of material to wade through, complete with comprehensive notes from Dave Penny to provide the historical details. With blues and country jazz making up the first side, before shifting to swing and country jazz, there is much to discover whether from the enigmatic singing via The Yas Yas Girl (Merline Johnson) ‘Love Shows Weakness’; lively country jazz of ‘I Love My Fruit’ (The Sweet Violet Boys), or the blues strum of ‘New “Sail On, Little Girl”‘ (Jazz Gillum) and George Barnes providing detailed guitar patterns from behind. Volume two, ‘Restless Guitar’, tracks the development of the guitar sound where the rhythm is of a different nature and really gets moving with two numbers by Dean Hightower with the early groove of ‘Plunkin’ Party’ and expressive ‘Moon Rocket’ that really provides the listener with an idea of its subject matter. Once more there is great variety on display with ‘Restless Guitar’ that will take you on a romantic ride by way of ‘Harbour Lights’; set you on edge via the tough attitude of ‘Purple Monster’, or create some serious rhythm with the superb boogie-woogie of ‘Pinetop’s Boogie Woogie’ (Lawson-Haggart Rockin’ Band), showing that the works and times of George Barnes are really worth (re)discovering.

To mark fifty years of hit records in the music business, Ottar ‘Big Hand’ Johansen celebrates this landmark occasion with a brand new album. To give this latest record the title that is befitting of its status, ‘Big Hand – 50 Years On The Road’ sees one of Norway’s leading lights of country music reignite his passion for this particular genre. By teaming up with other artists including Claudia Scott, Too Far Gone, Billy T Band among others, the majority of songs making up this latest album are original compositions, which have received a working hand from the additional musicians involved in this project. There is definitely a nostalgic feel to the ten compositions making up ‘Big Hand – 50 Years On The Road’, which naturally extends from Ottar Johansen’s vast experience of living and breathing the dream as a singer-songwriter. Therefore, it’s no surprise that you have song titles by the name of ‘Honky Tonks We’ve Known’, ‘Just Like In The 50s’ and ‘Follow My Dream’. However, there is room for forward thinking here as well with two songs that bookend this album; namely, recent single ‘Starting All Over Again’, steel strings gleaming as it maintains a relaxed pace and in line with the reflective stance of the song, and ‘Carry On’ with its campfire confessions going long into the night by way of several of its collaborators and Ottar Johansen leading the line. The creativeness continues once the engaging ‘Outlaws’ makes its entrance and proceeds to identify itself by means of a surly expression, dexterous guitar playing and detailed punctuations of harmonica. In fact, it’s this very song that suggests Ottar Johansen is far from thinking about hanging up his Stetson and packing away his collection of guitars in their respective cases because there’s a sense of mischief to this song, which transforms itself to a sprightly energy during the aforementioned, ‘Just Like In The 50s’ and the “We’ve still got it attitude” of ‘Honky Tonks We’ve Known’. A remarkable comeback, ‘Big Hand – 50 Years On The Road’ celebrates the past yet is equally keen to focus on the present with a few ideas that suggest Ottar Johansen is ready for the next creative venture once the dust settles on this celebratory chapter.

After a successful introduction via a 4-track EP, the first full-length album from Nico Duportal and his Rhythm Dudes hits the shelves. Serving up a rhythm and blues affair from days of old, the six-piece unit have put together a collection of twelve songs, six of them original compositions, with an abundance of skill and flair. There is much enthusiasm whether in the vocals of Nico Duportal or the band’s playing, which has a great knack of delivering an authentic sound. This whole experience is probably best gained from the album’s second track, ‘Lost In The Game’, where the vocals are heady with emotion, “Lost in the game, I don’t know what to do”, with superb guitar and parping horns maintaining the song’s zestful rhythm. It’s yet more knockout vocals that accompany the specific topic of ‘Polish Woman’, where there’s a real oomph in the back of Duportal’s throat and the guitar appears to momentarily trip away on a thread of its own and letting out a rawer sound. The mood is of a different nature during ‘Oh Baby’ as it leans back and lets a deeper blues in, with the guitar illustrating a lot of the emotions held here; hence the album’s title. ‘Can’t Afford To Lose Her’ provides the only real blip in an otherwise strong set, as it’s a little too samey with the band never manoeuvring out of second gear. Initially, ‘She Knows How’ gives the same impression, only this time there’s something charming about its rhythm, coupled with Duportal’s vocal which pulls the listener in with a mixture of relief and joy and it’s truly magnificent stuff! It looks like the success of the first EP was no accident as Nico Duportal and his Rhythm Dudes have another successful record on their hands with ‘Guitar Player’.