By exploring eight American cities in order to see how each local culture over the years helped shape the musical landscape of these specific regions, and then setting to task writing and recording one track in each of these eight cities, certainly makes for an interesting concept. For latest album ‘Sonic Highways’, this exact process was carried out by Dave Grohl’s Foo Fighters conducting their research of eight specific cities with a rich musical history behind them, and then coming up with a song that was influenced by, and exclusive to each of these eight regions. In conjunction with this eight-track album, Dave Grohl directed a documentary under the same title for the HBO TV network in order to provide a visual commentary to this whole concept and pay homage to America’s musical past. What transpires, however, as far as the audio output of this whole concept is concerned, is that while anticipating a blues inspired number from Chicago, for example, what the listener gets is just another Foo Fighters album! Despite one or two flickers of variation with the piano intro of ‘What Did I Do? /God As My Witness’ which could have developed into a gospel number, for example, merely develops into familiar alternative rock territory. The frustrating aspect of this entire album is the lack of variation in styles, which this whole project more than promised, as ‘Sonic Highways’ should have been marketed under a separate moniker because concept ideas aside, it’s actually a very fine Foo Fighters album. If you’re looking for classic Foo Fighters’ trademarks with that quiet, soft build up before rupturing an artery finale, then the rather excellent ‘Something From Nothing’ should appeal or the catchy, crunchy pop and alt-rock of ‘Congregation’, ‘Outside’, ‘The Feast And The Famine’ and ‘In The Clear’ should definitely satisfy the appetites of longstanding Foo supporters. By failing to live up to its original billing, ‘Sonic Highways’ is an opportunity missed to come up with an album with a difference due to remaining within its comfort zones. Having said that, ‘Sonic Highways’ is another solid addition to the Foo Fighter’s own history in the making and one that would have been served better as a separate entity away from the filmed documentary.

There is a powerful racket stemming from the upper regions of Norway – Bodø to be exact – where long dark winter days drag endlessly and the sub-zero temperatures cut deep. Fortunately such conditions are the very bread and butter that help fire up the post-metal / hardcore sounds that shunt the heartfelt grievances to the fore of promising upstarts Ayil. The waft of guitars opening this EP gives the impression of scouring a bleak landscape for any sign of life, only the realisation soon becomes apparent that all is certainly lost. Bruised and beleaguered, ‘All Lost’ finds Ayil hacking away with blunt instruments and declaring something along the lines of, “No hope no love, No hope no life” deep in the knowledge that any call to arms is futile considering that fate has already revealed its hand. The build-up of guitars that starts ‘Clouds Connect’ exists temporarily as the song collides in a brutal manner only to spin adrift – albeit temporarily once more – with a more melodic sound that eventually melds into a harsher texture. More time is given to ‘Lack Of Sleep, Mind In Pain’ which stretches out its fraught emotions past the six minute mark over a rugged terrain of snapping vocals and tough rhythm that eventually loosens and is awash in layers of (shoegaze) guitars. The messages communicating from the north simply cannot be ignored when they are as emotionally honest and gripping as those spouting forth from Bodø’s potential new sons Ayil.

One of a growing number leading the charge for musical recognition in the St. Louis, Missouri region is relative newcomers Choir Vandals. After a successful debut campaign with the ‘Darker Things’ EP in 2013, Choir Vandals follow this with another EP release through FITA Records and 6131 Records by the name of ‘At Night’. Fusing indie guitar rock with grunge, ‘Monsters’ starts things off impressively by maintaining a tight musical direction, despite flickers of vocals and guitars trying their hardest to flee in opposite directions such is the various layers of instrumentation at work here. Being a tough act to follow ‘Medicate’ manages to maintain the quality control in a gritty flow of guitars that power along with lyrics purporting to the struggles associated with addiction. There is a genuine 90s flavour to the songs contained within ‘At Night’, with the early reference to fragments of grunge, which is a compliment indeed when the standard of songs are as consistently high as those present here. Expect standards to be raised even higher when Choir Vandals next venture out because there will be no rest in their current momentum as suggested by their own commentary, “I don’t wanna sit back and let my life run away from me”.

In a show of optimism after a successful campaign winning over the hearts and minds at this year’s Emergenza contest for unsigned artists, The Scheen return with the first entry from a forthcoming EP with new single ‘City Lights’. Buoyed by their recent success, ‘City Lights’ exudes the same level of optimism with its tight, energetic rhythm that was the product of a live recording in the studio under the guidance of producer Sigve Bull. With new material on the horizon and a 2015 tour booked as part of the Europaturné with the aforementioned Emergenza contest, next year should see The Scheen growing further in stature considering the exhilarating ride of current single ‘City Lights’.

The current surge of eighties bands not only making a comeback, but doing so credibly with brand new material is gathering at some pace. Latest off the block with new album ‘Big Music’ is Scotland’s longstanding Simple Minds. Having undergone a renaissance in recent years after the band’s decision to rediscover their early material, which saw them embark on a worldwide tour performing five tracks from each of their first five albums, the core of Jim Kerr (vocals), Charlie Burchill (guitars) and Mel Gaynor (drums) continue this journey as ‘Big Music’ treads similar experimental ground yet retains a more accessible side for the majority of its contents. Examination of those past creative endeavours also led to a calling on the experience and expertise of co-writer Iain Cook, of Glasgow band Chvrches, and producers Steve Osborne, Andy Wright and Steve Hillage – who worked on 1981’s ‘Sons And Fascination / Sister Feelings Call’. ‘Blindfolded’ opens the gates and one is reminded of ‘I Travel’, with its incessant rhythm suggesting a genuine feeling of motion sourced by a strong wave of synths and Burchill’s guitar. First impressions of the actual song ‘Big Music’ provides the first, real indication of a song that is not as clear-cut in its aims, despite massive beats propelling it forward and living up to its title, due to the gritty current coursing through it and then taking a turn skywards in swathes of keyboards providing a more soothing edge. Such songs make for compelling listening and further indication of the wise decisions Simple Minds find themselves taking by following a less commercial route and setting challenges, which first single, ‘Hometown’ suggests, as it will require a measure of patience due to its measured pace. There is great vigour to the excellent ‘Human’ that really gets under your skin after a few repeat plays, which also rubs off on the echoing, fuzzy static of second reworking (see ‘Graffiti Soul’ deluxe edition) of The Call’s ‘Let The Day Begin’. Similarities can be drawn with the aforementioned ‘Hometown’ and the considered tempo of ‘Blood Diamonds’, which reveals the experience and depth at the centre of this band. To suggest that ‘Big Music’ is a major comeback for Simple Minds would be discrediting the steps which led to this reinvigorated state – namely, ‘Neapolis’, ‘Black & White 050505’ and ‘Graffiti Soul’ – as the signs were already evident to the glorious position Simple Minds find themselves once more. ‘Big Music’ is therefore another addition in their current creative evolution, but one that is definitely their most consistent in terms of a return to their creative best.

Hello Saferide is the alias Annika Norlin prefers to use when the creative thought processes demand an English interpretation rather than her mother tongue of Swedish. Interesting as the inner workings of these creative thought processes might be as to why Hello Saferide lends itself to English text is one for Annika Norlin alone. Once the opening bars of ‘I Forgot About Songs’ starts up, nearly introducing OMD’s ‘Enola Gay’, all such thoughts are instantly forgotten. It’s the static, droning sound and fragile vocal of this opening song that is instantaneous in its appeal, as it slowly edges itself away from the brink by revealing the things in life that matter, but somehow became lost in translation. ‘The Fox, The Hunter and Hello Saferide’ is understated in its execution by utilising the barest of instrumentation, applied with the lightest of brushstrokes and providing a lo-fi feel overall. The songs themselves appear to be reflecting a (personal) journey, and one that is looking back (‘Dad Told Me’), beautifully relayed through bouts of happiness and deep regret during the sublime ‘Berlin’ and cascading tears of the equally moving ‘Raspberry Lips’. The pitter-patter rhythm of ‘Hey Ho’ picks up a gradual momentum of subtle electronics and ever so faint distorted guitar that gives the impression of a lengthy sigh such is its apparent regret of opportunities missed. ‘Rocky’ reveals a pent up and misunderstood narrative that is dressed up in a folk arrangement, before ‘This Body’ paves the way for a choir of vocals which strikes a chord deep within. ‘The Fox, The Hunter and Hello Saferide’ is a lo-fi masterpiece reflecting on the various interactions of personal relationships that should find a safe refuge with all those having undergone similar experiences. Miss this album at your peril!