Looks can be deceiving when it comes to ‘Agent Cooper’, the new album from the enigmatically named Russian Red. Behind the exterior lies real name Lourdes Hernández who is one of Spain’s biggest names with an indie rock influence mixed with a deep knowledge of pop music; just don’t expect anything bordering on the mainstream, as suggested by the front cover, because, as mentioned earlier, looks can be… In fact, the whole album is caked in mystery from the cryptic album title to the “look twice in order to see it” ingenious song titles, which could be a reference to a number of past relationships set in chronological order to give the narratives a sense of history to the point of meeting their sell by dates. Musically, the songs are given the same quality control, despite being a touch more immediate than their song titles suggests. The glorious sweeping chorus of opener ‘Michael P’ intoxicates the senses and leaves a lump in the throat with its protestations, “I get so lonely when you’re gone”. Even better, however, is the 80s tinged ‘John Michael’ with its fusion of guitars and keyboards that brings to mind the solid album efforts the likes of The Psychedelic Furs used to include in their works. ‘Casper’ is directed by some fine guitar work that takes a moment to breathe once Russian Red applies the brakes with sumptuous vocals to offer serious reflection on, no doubt, a relationship that turned sour. Triumphing over all, however, is the early minimalist beats and fragile vocal of ‘Xabier’ that almost lasts the distance before crumbling under the weight of its own revelations to the backdrop of guitars set to shoegaze. Russian Red has delivered the package ‘Agent Cooper’ which, if you choose to accept, can be found under the code word: SUBLIME.

The Scheen’s debut album finally gets to see daylight after last year’s single release ‘I Am I’. Possessing a front figure that is well known for last year’s participation in NRK’s Stjernekamp, now last year’s chip paper, as The Scheen is an altogether different proposition with its roots firmly set in an indie rock sound. Despite having an ace in their pack when it comes to vocal duties in the form of Atle Pettersen, it would be a great disservice to suggest that The Scheen is anything other than a promotional vehicle to aid Pettersen’s progression as The Scheen is a properly assembled outfit comprising of Tobias Ørnes Andersen, Robin Ognedal, Rein Blomquist and Nickolas Main Henriksen who have been together for some considerable time and, in the process, built up a wealth of experience on the live circuit. With such a longstanding relationship between this five-piece band from Skien (Norway), it is little wonder that first album offering ‘The Scheen’ sounds anything other than accomplished. The impressive opening strum of bass and guitars coupled with Atle’s compelling vocal pulls the listener in from the off with lyrics suggesting an off-kilter relationship with the daily grind of everyday living. If that wasn’t enough, then the pounding beat and fitful sounding guitars holding together ‘I Am I’ really excels with its gritty edge and interspersions of electronica. Despite its glum title, ‘Nothing To Win’ opens the door to a pop influence with an irresistible chorus that reeks of next single contender, which could easily be bestowed to its near neighbour with the sweeping melodic indie rock of ‘The Race’. For the moment, current single ‘Run’ is given that honour and is every bit powerful in its delivery as it is anxious with a concluding tempo giving the impression of chasing down endless empty avenues. The Scheen’s qualities lie in their ability to provide a balanced album that is one moment full of intricacies (‘Sleep In Silence’), revealing the band’s hidden depths, and the other more immediate with the uplifting feel of ‘Ghost’ being a prime example. As far as debut albums go, The Scheen just got off to a very good start.

If you want to the know the definition of commercial suicide when the record company execs call for your next offering to be laden with hit material, then ‘The History Of Music: A Mosaic’ is unlikely to do you any favours. Whether the end results were down to a large quantity of pharmaceuticals consumed, coupled with a gifted ability to piece together or perhaps unpick the expansive sound collage throughout, then only A Clean Kitchen Is A Happy Kitchen possess the answer to any concerns regarding the first query as there are no doubts concerning their musicianship. Difficult when trying to sit and consume this record in one sitting, but brilliant when the intricate details start to reveal themselves, the second full-length album by A Clean Kitchen Is A Happy Kitchen is a sprawling mass of post-rock and psychedelic experimentation with elements of free-form jazz that, when melded together, gives the impression of musical post-it notes, if there were such a thing, placed in no particular order but somehow this absence of any form of direction functions with apparent ease. For those looking for an accessible point, however, then ‘Floyd Is Warped’ is as good as any with its stone-cold drum pattern, buzzing guitar that later becomes more animated, before heading into flashes of white noise and suitably followed by the complexities inside of  ‘Yellow’ that shows off the band’s expertise, especially when guiding interludes of awe-inspiring feedback.  ‘The History Of Music: A Mosaic’ is definitely not a record for everyone, but it is one that is welcome for its persistence in testing boundaries and general lack of conformity to any given rules, which is fast becoming a scarce commodity in the current state of things.

With clever use of words to indicate the milestone Danish ‘cowpunk’ rockers D-A-D has reached with 30 Years 30 Hits, such longevity is duly rewarded with this accolade consisting of a double CD with tracks spanning from the band’s initial beginnings in 1987 to the present. The secret to D-A-D’s enduring appeal lies in their ironic play on words and mix of melodic and (often) hard-edged rock that is at its peak with the wild and savage ‘Marlboro Man’, psychobilly influenced ‘Isn’t That Wild’ and the more considered ‘A New Age Moving In’. There is, however, much to absorb here with a more mainstream yet nonetheless compelling ‘It’s After Dark’ revealing a penchant for pop music, to the ‘raising a smile’ and defiance of lead vocalist Jesper Binzer’s ‘I Won’t Cut My Hair’. DISN30LAND AF30R D30K is a compilation to be rightly celebrated and not interpreted as a parting farewell as these albums sometimes suggest because there is definitely more to come from D-A-D when considering the depth and quality of this 30 year landmark.

With a high volume of live dates planned throughout 2014, Lincoln, Nebraska’s Bent Life is more than prepared for such a lengthy schedule judging by the powerhouse that is latest album ‘Full Skull’. Thundering out of the traps is title track ‘Full Skull’, setting the tone with its pulsating guitar assault and met by the intriguing complexities and bullish manner of ‘Bricks’, only for all to be consumed by the cavernous and more primitive bellow that is ‘Unlearn’. There is no doubt that the contents of ‘Full Skull’ will be equally at home when in a live setting, as there is a suggestion of a looseness to the recordings, despite the technical efficiencies on display, that will probably usher in moments of improvisation, which can only be a good thing. At full throttle, Bent Life is leading the overseas charge when it comes to a hardcore sound.

‘High Hopes’ is business as usual for Bruce Springsteen that sees his loyal crew the E Street Band and a return for Ron Aniello on production duties helping to make this latest effort a worthy successor to the excellent ‘Wreaking Ball’ (2012). Where this album differs, however, is the inspired decision to involve Rage Against The Machine guitarist Tom Morello, who provided cover for the Australian leg of Springsteen’s tour last year. Such is the influence of Morello – providing guitar almost throughout and a duet with the Boss on ‘The Ghost Of Tom Joad’ – that Springsteen was moved to say that; “Tom and his guitar became my muse, pushing the rest of this project to another level”. High praise indeed that also applies to the rest of the ensemble, as Springsteen continues to mine a rich vein of form by reworking a few ideas as well as providing covers. It’s Morello’s guitar signature that sets the wheels in motion during title track ‘High Hopes’, as it echoes in and out and supported by a bustling rhythm that is punctuated with brass instrumentation before stumbling into the gangsters occupying the streets of the mild funk of ‘Harry’s Place’. ‘American Skin (41 Shots)’ is memorable for its infectious rhythm but also the street politics at its centre, whereas ‘The Wall’ is equally affecting for its personal memory of a departed friend lost in action in Vietnam but also for its delicate delivery. Despite all the success and financial gain, Bruce Springsteen continues to remain true to his beliefs in the blue-collar worker and genuinely cares for those who remain marginalized as latest album ‘High Hopes’ reflects.