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Released 6 November

 

My War / Whiskey Song (Single)

The Secret Sound of Dreamwalkers

Safe & Sound Recordings

Coming together after the demise of a few former projects, the trio that is The Secret Sound of Dreamwalkers see the release of their debut single this week. This first release is actually a digital only offering, with the tracks being presented as a double-sided single with ‘My War’ and ‘Whiskey Song’. As far as immediate impressions go, lead song, ‘My War’, hits the senses with an arresting vocal performance, in addition to a delicate and pensive musical accompaniment that also contains a few stings in its chords, magnificently expressed by the guitar hands of Thomas Bergsten and Kristine Marie Aasvang, who is also responsible for the aforementioned. Think Mazzy Star; think Cowboy Junkies, think a darkened corner of a barroom somewhere in the vicinity of Twin Peaks, and you’re close to an understanding of where the melancholic beauty of ‘My War’ resides. The second composition,’ Whiskey Song’, is the perfect companion, beginning with dreamy steel guitar and stunning vocal that holds a real sadness inside. This sadness becomes more apparent as the song wears on, as its tone becomes more resentful, to the point of almost mumbling, as it plots its revenge on a hapless former lover. The twist at the end of this song raises a wry smile, and is but one reason why a return visit to the music of The Secret Sound of Dreamwalkers is a must the next time they’re in town.


Released Out now

 

Monochrome / Derailed (Single)

Leatherneck

FITA Records

By producing a sound that is more in line with the alternative rock and early grunge that was vastly popular during 90’s America, but not without notable mentions to the likes of early shoegaze with UK indie band Ride, the band at the centre of this glorious racket that is the double A side single, ‘Monochrome / Derailed’, is Leatherneck. The North West of England is the actual destination where Leatherneck has been busy constructing these two songs that run similar themes reflecting on life’s struggles, and the changes these can bring in terms of the people involved and how they’re perceived. The backdrop, musically, to both of these narratives is gritty and guitar-driven, but not without subtle melodic touches that can be heard during both numbers. For example, there’s a definite sweet edge to the guitars of ‘Monochrome’ that sweep along at considerable pace, and countered by the blunt edges of the vocal that makes for a compelling experience. The other offering, ‘Derailed’, is similar in its delivery, only the guitars possess a greater sheen (that’s not a reference to being commercial by the way) which, by the song’s conclusion, are sounding absolutely red hot. An EP is scheduled for next year which, on the basis of this current single, is worth further investigation, especially to see whether Leatherneck can expand on their sound to add variation to the quality set by ‘Monochrome / Derailed’.


Released Out now

 

Dead City Dreams

TimeKillers

Inverse Records / Secret Entertainment

Stemming from a remote part of Finland where the lifeblood of any such town is held in the local corner shop, punk-rock outfit, TimeKillers, and their debut album, ‘Dead City Dreams’, is a reactionary call to the boredom and despair that such an existence can ultimately bring. With song titles alluding to such anxiety and desperation, as well as having a habit of producing a wry smile (‘Friday The 13th‘, ‘Don’t Let Me Sleep’, ‘Mirage’), the sounds produced by TimeKillers is predominantly a straight-ahead punk-rock affair with a definite whiff of old-school surrounding it. There are some deviations from such an approach, with the restrained ‘Don’t Let Me Sleep’ that only reverts to type during its finale. The acoustic intro of ‘Happy People’ is another example where other ideas are attempted, despite the foot to the floor rhythm that eventually muscles in, yet it remains an interesting song for its lyrics, that purport to the dead-end existence of the small-town environment, and for the reason that it could function equally as well unplugged. This is a large part of the attraction here, as the honest emotions expressed, coupled with enough melodic touches via the choruses and then mixed with the rawness of the guitars makes for a heady concoction. Head straight to ‘The City’ for the TimeKillers strongest statement on all such levels, as it won’t be long until this band are heading in the opposite direction because there is much to get excited about when it comes to ‘Dead City Dreams’.


Released Out now

 

Nordic Tanzen Am Sonntag EP

Elefant

Elefant Music

Recorded live at Charlatan, Ghent, earlier this year, Elefant fill the room with a largely instrumental sound that contains warped guitars, kraut rock, sludge and interestingly, in their words, “nachtwinkel” that translates as night shop for their current EP ‘Nordic Tanzen Am Sonntag’. Opening track ‘Proteus’ is the stuff of late nights, where a nightmarish vision exists via sinister guitars with bouts of distortion, and a backbeat that gives the impression of wading through sludge and making for a very claustrophobic experience. Follow on track, ‘Smithers’, continues along similar lines, only its rhythm is struggling at greater depths with its bass scraping along the bottom yet, despite such adverse conditions, Elefant mange such difficulties by creating an impressive and absolute monster of a rhythm. From these two heavy slabs of instrumentation, the load lessens somewhat during ‘Elefanten’ with the guitars providing direction, yet still fuelling the band’s sound with a creepy element as heard by the skeletal tones of the guitars and additional keyboards. It’s not all about providing a soundtrack, however, as Elefant show that they can do conventional which, by their standards, is still some considerable distance from such a description with the concluding, and frenzied state of ‘Depression’, where instruments intertwine and go into overload with only brief respites via the lead vocal. A real surprise, and one that will take some adjusting to considering its off-kilter approach compared to what’s currently out there, Elefant’s ‘Nordic Tanzen Am Sonntag’ is a welcome addition as well as a welcome relief.


Released Out now

 

Seed Husk

Seed Husk

Inverse Records / Secret Entertainment

Seed Husk is an indie-rock five piece hailing from Finland, with an eponymously titled debut album released via the joint coupling of Inverse Records and Secret Entertainment. The material making up this debut album is definitely melodic guitar-based rock with nods of affection towards 90s era grunge and alternative rock. Such references are fully understood considering the wealth of experience at the centre of Seed Husk, as the band members have performed in various different bands prior to this latest project. With the album being recorded and mixed at Electric Fox Studios by Tuomas Kokko; mastered at Chartmakers by Svante Forsbäck, and with Seed Husk handling production, the first song from this debut album came in the form of ‘Hunt’. Those who were fortunate to hear this first single, prior to the release of the full-length album,  would have been right to think that they’re on to something special as the rest of the contents of ‘Seed Husk’ are of the same high consistency. The first song to make its impact is the driving indie-rock of ‘Overstay’ that sees Panu Perkiömäki adding passionate vocals to the tight, pummelling rhythm. There is even greater detail added to the sublime, ‘New Page’, with what sounds like a mandolin accompanying the acoustic guitar during its start-up, before going on to beef up its overall sound. The subsequent ‘Scavengers’ is less forgiving with a rawer edge to its overall sound, only to give way momentarily to a melodic chorus that really lifts this song. Where Seed Husk truly excel is their application of detail to each and every song, where considerable layers are added that steer these songs along different avenues, before getting back on track to reach their final destinations. It’s an impressive collection of songs and it goes by the name ‘Seed Husk’.


Released Out now

 

Patriarchs

Ruhe

Eilean Records

Limited to a mere 150 copies is the new ambient long player from Ruhe with ‘Patriarchs’. Mastered by Ian Hawgood in September this year, the work that is presented is largely a succession of instrumentals designed for the wee small hours that suggests nothing but a lonely, isolated state where the only company that exists are one’s own thoughts. Bleak as that may sound, the song writing crafted is of the highest calibre as it carefully depicts the loneliness by means of instrumentation that is raw and stripped back where you can almost sense the cold creeping in under the doorways or up through the cracks in the floorboards, adding further fuel to the melancholy of this album. Examples of this can be gleaned from the title track, ‘Patriarchs’, which plays out like a forgotten record player with a sustained hiss in the background and its piano accompaniment filling the space of cold empty rooms, only to be momentarily broken by the crackle of a faint voice that sounds equally forgotten and consequently left in time. Fragments of this track seep into the next song, ‘Felled’, with the piano, along with filtered harmonised vocals unearthing the beauty at the bottom of this instrumental in a combined effort towards its conclusion. Speaking of beautiful, ‘Guide’ adds shards of light via its piano melody but is frustratingly cut short midway through, due to changing direction and leaving one to ponder that, in life, you can’t have everything. With this album being a warts and all affair, ‘Shelter’ is probably the closest you will get to experiencing an artist at work where it’s the sound of ideas being tried out for the first time (piano lid closing, stools creaking, shuffling of feet, etc.) and then patched together. With ‘Patriarchs’ expressing an overall sense of solitude, never has such seclusion from the rest of the world sounded so appealing with the fragile compositions making up this album.


Released Out now

 

I lag med deg (Single)

Erik Lukashaugen

Øksekar

Named as a strong favourite by a number of critics in his homeland is the current single ‘I lag med deg’ from Erik Lukashaugen. The song itself is taken from the full album ‘Tel si elga tid’, which has also been on the end of some very fine words indeed, that makes for an encouraging start to the current campaign for this singer-songwriter from Elverum. The favourable words are fully justified once the folk and light country tones of ‘I lag med deg’ immediately arrives at a mid-paced tempo, that maintains itself for the duration of the song, with Erik Lukashaugen singing of his affections for another without ever sounding twee. The feelings expressed in this song are given further credence with a delightful vocal coming from Linn Øftsaas, who adds to the warm intimacy at the centre of this (third person) team. ‘I lag med deg’ is likely to win you over without really trying at all because it’s such an infectious and warm song, and one that will continue to worm its way to your heart six months down the line and there’s no greater feeling than that when it comes to song writing. A job well done!


Released Out now

 

På jorden et sted – Utvalgte Nordiske dikt

Finn Coren

Bard Records

Beautifully presented with the upmost care and attention to detail is the latest album by Finn Coren with ‘På Jorden et sted – Utvalgte Nordiske dikt’ (‘Somewhere On Earth – Selected Nordic Poems’). With this being his seventh solo album, and the third in a separate series that focuses on Nordic poets, Finn Coren has arranged his songs to provide an interpretation of the poetry from fourteen different Nordic poets. The poems selected will be familiar to those who grew up in such surroundings, or those who simply have a taste for Nordic culture, as the poetry centres on a selection of well-known classics from these regions, in addition to a few lesser known choices. Considering the level of detail gone into making these songs, it comes as no surprise that the majority of these tracks have been under construction for some considerable time. That’s not to say that Finn Coren has not received additional help in order to bring this latest album to life, as no less than four other musicians including Øyvind Fossheim (piano), Gjermund Kolltveit (Hardanger fiddle, kanklės), Stian Omenås (trumpet) and Lars Fredrik Frøislie (Mellotron, Chamberlin) contributed to the making of ‘På jorden et sted – Utvalgte Nordiske dikt’. With the chosen poetry relaying themes – three core themes in fact – concerned with life, love and death and inspired by classical and folk music, Finn Coren breathes the poetic words in a hushed manner that complements the often pared back sound of the instruments. ‘Salme’ is one such example where the vocals and largely grand piano provides an intimate experience that, in its combined state, drowns out all other external interferences such is the song’s alluring power. The intimacy grows even further with the pairing of acoustic guitar and faintest of horns during ‘Innbying’, that sees the vocals flit between the already mentioned whispered tones to spoken word passages making for a stirring piece of work. Finn Coren blossoms somewhat during ‘Sång’ and is accompanied by gorgeous sounding strings, only for the mood to blacken with the funeral procession feel of ‘Alle veier bort fra dig’ that, musically, could find a home on a Tom Waits album. With jagged edges all round adding to the compelling narrative of ‘Havet’, and the opening ‘Salme’ given another outing via an instrumental reworking, ‘På jorden et sted – Utvalgte Nordiske dikt’ is an absorbing experience full of light and shade, and one that is skilfully managed by way of its musicianship and chosen poetry that marks out album number seven for Finn Coren as really rather special.


Released Out now

 

Ikke skapt for kø (Single)

Anders Bjørnvold

Safe & Sound Recordings

Taken from current album ‘Drug Natt’ Anders Bjørnvold lets slip the single ‘Ikke skapt for kø’. Whether Bjørnvold is being a tad facetious here or simply unaware that the title of his new single also lets slip a much held perception from those who are not of Norwegian decent that his ‘not created for queuing’ stance actually applies to a large proportion of his fellow citizens, if you’re one of those who’ve clocked up a enough air miles to witness such happenings, then only this singer-songwriter has the answer to such a conundrum. More importantly, the music itself is far from being a heavy affair as its Americana and folk roots lightly pollinate the air, with the instrumentation giving off a slightly sleepy feel yet one that is illuminated by a near golden haze. It will be interesting to hear if the rest of Bjørnvold’s musings are of similar persuasion because ‘Ikke skapt for kø’ is a welcome pleasure and one that will help detract attention from the cold winter months ahead.


Released Out now

 

The Ocean Floor EP

Ship Captain Crew

SCC Music

Ship Captain Crew has experienced a rather successful year thus far, having made their debut at this year’s Warped Tour and serving support slots with the likes of Knuckle Puck and Real Friends. Such victories look set to continue with the release of their latest EP ‘The Ocean Floor’. The sentiments echoed throughout this EP have more in common with the title of Ship Captain Crew’s current offering, but the tunes this crew (sorry!) serve up are far more resilient. It’s the band’s knack of writing strong melodies that lifts the songs out of the doldrums where crushed emotions often exist, but are soon answered with a fighting spirit by the likes of the pop punk ‘Honesty’, which possesses a real kick to its rhythm that constantly propels the song forward, and then followed by a moving vocal turn from Roger Alexander Moreno during the equally impressive ‘Hollows’. With two acoustic tracks added to the set Ship Captain Crew reveal another side to their song armoury, and one that shows up under a closer microscopic view the depth and details that go into the band’s song writing. Life on the bottom of the ocean is not a bad place to be when you’ve got Ship Captain Crew for company and their ‘The Ocean Floor’ EP, as there is enough here to suggest that these songs are focused on moving forward, despite the reflective stance of the narratives, and that is something to be greatly admired.


Released 13 November

 

Hatch

Grand Blue Heron

Jezus Factory Records

From the remnants of Belgian underground trio Hitch, who decided to call it quits back in 2011, Grand Blue Heron emerge with a ten-track album by the name of, don’t get confused here, ‘Hatch’. With the album having been written, recorded, produced and mixed by Grand Blue Heron at Chateau Rocque, which just happens to be owned by the band as well, there is a real sense of Grand Blue Heron merging as one here, both in their creative endeavours and ideas suggested by the detailed pen and ink illustration adorning the album’s exterior. The merging as one reference applies to Grand Blue Heron’s sound for the manner in which their sometimes, near droning and space rock influences threaten to engulf the entire band, such is their dedication to their art with all band members pulling in the same direction and therefore running the risk of becoming drowned in their own sounds. Evidence of this is convincingly served up by the poetic delivery, and intriguingly titled, ‘Gay Is The Lord’, which threatens to overspill during the enthralling ‘Last Song’. Where this album picks up extra attention, however, is for its toying with various influences by creating more direct numbers via ‘Lip Sweat’ that is more about the indie guitars than anything else, yet is most welcome in this set. This diversity extends to the, again, intriguingly named ‘Bodies Of Fire, Suns Of Wax’ where the vocals sound buried deep below a mound of earth, and the band working intensely in order to bring their ideas to fruition, despite the sense of pressure weighing down upon them given by this particular song. Comparisons have been made linking Grand Blue Heron with Motorpsycho, Jesus Lizard, Earth and Neil Young for example, which has a ring of truth once the dusty roots and blues inspired ‘Tin Soldier’, or the tail end of 70’s guitar rock of ‘AddickTed’ opens up. There may have been many who mourned the demise of previous band Hitch, but mourn no longer because Grand Blue Heron and their album ‘Hatch’ are two very good reasons to start believing once more. The much needed indie revival, in its truest sense of the word, definitely begins here.


Released 30 October

 

The Kingdom Belongs To A Child

Cashavelly Morrison

Working Brilliantly

There are personal and external issues at stake when it comes to the debut album from Cashavelly Morrison. With the title of ‘The Kingdom Belongs To A Child’ playing a significant role here, the album explores issues of loss whether relating directly to this songstress or reflecting upon those around her, as well as tackling issues of a sociological and political nature relating to inequality and empowering women for example. It’s powerful, emotive stuff that really deserves to be heard. Another part of the persuasion here is the Americana and folk roots ‘The Kingdom Belongs To A Child’ pays reference to. More specifically, it’s the darker edges of these particular genres; explored by their narratives and quoted here as ‘Southern Gothic’ as portrayed by artists such as Gillian Welch, Lucinda Williams and Neko Case. By meeting her now husband, Ryan MacLeod, who was in the process of earning his stripes in classical guitar performance at UNC-School of the Arts, it was this meeting of the minds between Morrison and MacLeod which sparked a genuine creative process between the two once their love of authentic folk songs and admiration for Hank Williams had been expressed, and therefore a form of common ground established. Within a brief period of time, the songs making up the debut album ‘The Kingdom Belongs To A Child’ were recorded by use of vintage equipment at the renowned Echo Mountain Studio in Asheville, NC, and the rest is now history. Musically, the songs are of a delicate nature, with beautiful vocals and acoustic guitar often leading the way, and accompanied by the minimalist of instrumentation; notably upright bass and the occasional outings of pedal steel and banjo. Equally sensitive are the subjects Cashavelly Morrison voices concern over in terms of the contents of ‘The Kingdom Belongs To A Child’, with songs reflecting harrowing tales of loss including miscarriage, police brutality and the working conditions of miners in one particular town (’29 Bells’). In addition to this, there is a real sense of emotions conflicting with each other, and expressed between the lines of these narratives with grief and guilt weighing particularly heavy, with a suggestion of dirt on the hands in some instances. With the entire album being played out exquisitely and evoking memories of an old-timey sound brought to life by the banjo during ‘Emory’ and ‘May 5th’, Cashavelly Morrison has created an album of genuine beauty, but one that is touched by much sadness and personal loss yet never shies from such sensitive topics; something of which is to be commended because in her own words, “exploring your grief can lead to empowerment with the ultimate empowerment being the freedom to speak these things through music”.



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