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!

Just as the obsession has been with female vocalists in the UK from the music industry and those willingly lapping this up, the same pattern seems to be happening in Scandinavia or, more to the point, Norway where to be female and possessing a beautiful and ethereal vocal backed by an assortment of electronic pulses that have a habit of sweeping and soaring has become an obsession. The latest in an increasingly lengthening line regarding such comparisons is Elsa & Emilie who, through no fault of their own, churn out an album’s worth of all too familiar sounding material that could be any number of female artists to have graced the scene during the past few years. There is undoubtable talent present and the majority of songs are fine, with the solid opener ‘Endless Optimism’ and haunting beauty of ‘Run’ being two particular highlights, but overall, where this album would have benefitted most is a change in the creative process in order to set it apart from what has gone before rather than adhering to an overused formula. Take for example the meandering pleasantness of ‘All Our Money’ and saccharine ‘Firemaker’ as two prime candidates performing adequately at surface level, but after deeper exploratory fail to offer much in the way of substance. ‘Young and Beautiful’ patches up some of the deficiencies with more character in the vocals and complimented by the lone piano giving a source of inspiration for the duo’s next creative venture. Despite all of its professionalism, ‘Endless Optimism’ contains too much familiarity due to the current saturation of the market with similar sounding artists. On this occasion, Elsa & Emilie would do best to follow their own advice, “This could be anything, let’s find a place to start” because they need to find their own identity, which is more than viable considering the glimpses of talent evident here, and with time definitely on their side.

A long time in the waiting, Stavanger-based Frk. Fryd is finally ready with their first long player ‘Hjertebank’. Eleven tracks of punk-rock inspired energy that accelerates from the start with the rifftastic ‘Svart Sol’ and immediately followed by the shorter and sharper shock of electricity that is ‘Skyene’, which has a fine line in knitting together its vocals in wonderfully harmonious fashion (listen to those near howls blowing down the tunnels!). The influence of grunge and its associated big sister that was riot grrrl during the early nineties are additional reference points but not something overly obsessive here, as the tunes remain focused and a lot tighter with definitely less aggression when it comes to the vocals. Occasionally, this lack of ‘bite’ becomes irksome as there are periods where Frk. Fryd should be snarling at their prey rather than sounding a tad cute [‘Tok Meg Med’]. Normal service is resumed, however, with the grit of ‘Tyvens Dans’ serving up its remedy with a coarser set of vocal chords, which is then shared with the melodically tight and rockin’ ‘Blod og Honning’. The rawness of ‘Blikket Ditt’ adds a more natural edge and is possibly the closest indication of this all-female group’s live sound. Topping that, however, is the layered instrumentation of ‘Virvelvind’ with its memorable high step in the vocals during the chorus. While there is a lack of variation on one or two occasions, the overall feel of ‘Hjertebank’ is positive considering it’s the first major step for Frk. Fryd to a long and illustrious career if they desire it.

Having grown up on a musical diet consisting of American underground indie stalwarts Palace Music and Smog before soaking up the sounds of Howe Gelb, Matt Ward and Jeff Tweedy at a slightly later date, Rob Eelen considered it time to scribble a few musical compositions of his own and set sail for the life of a singer-songwriter. Forsaking his own moniker for the more appealing Wilderwolves – no doubt a ploy to avoid any association with the aforementioned singer-songwriter category despite this being a predominantly one musician affair – this debut album reveals an array of honest emotions, often steeped in plaintive lyrics with an intensely raw sound. With assistance coming from producer Geert Van Bever, Wilderwolves greets the listener with the bare minimum of acoustic guitar and a vocal claiming, “There’s no way back, I got stuck on you” and immediately you get an idea of where this album is coming from. There are other instruments added to the overall recording, with Eelen introducing piano during the somewhat subdued yet trying its hardest to sound upbeat of ‘Disco Dance’, which remains a masterstroke in song writing such is its dalliance with pop music combined with an overall sober side. The distant sounding opening of ‘Great Days’ assumes a brave face when inside there is nothing but ruin, which extends to the tragic relationship of ‘Danger Close’ that possesses a country edge as depicted by the shooting stars of steel strings illuminating the night sky momentarily, with the song drifting slowly towards its conclusion. A more robust and melodic sound lifts ‘Song For Now People’, which seems to spur the following ‘To Deploy’ into action with its choppy rhythm greatly exemplified by the fuzzy bass, staccato electric guitar and thumping drum beats. With there being a strong feeling of clinging to the past, the memories echoed throughout ‘Wilderwolves’ is something to revel in when they are presented in such an absorbing and intelligent manner that sets out this debut album as one to seriously treasure.

First up for new artist on the block Surfalot is the bright and breezy debut single ‘My My Oh My’. Having built up his credentials via a stint in Liverpool working with producer Tarek Musa (Transgressive Records) before a return to more familiar surroundings of his home in Norway, Surfalot, real name Bendik Johnsrud, is ready with his brand of indie synth and guitar pop that should, if there’s any justice in this world, appeal to a broad number of music obsessives. The single itself arrives at a time when the final days of summer are fast receding, with the simple demands of the song’s narrative sensing such change when it could still be cause for celebration if only the other half of this partnership would agree to slip on their dancing shoes. ‘My My Oh My’ is built for such moments, however, with its infectious melody having a spring in its step with a slight scent of the early 80s looming just around the corner. If Surfalot can ride out this summer season with emotions still intact, then the next issued release from this Norwegian looks set to be an intriguing prospect.