Far from being a newcomer to a corner of the music world that exists on a diet of field recordings, samples, electronics and numerous other instruments when called for, American Andrew Tasselmyer sees his latest creation ‘Surface Textures’ released via Eilean Records. Going to great lengths to capture the sounds included on ‘Surface Textures’ with visits to Japan, China, Europe and the USA between 2017 and 2018, there is a sense of a journey captured here that is attempting to recall the past. Whether that is a means to unravel certain memories that continue to perplex or relive happier times then that is a matter for the artist at the centre of this record to workout. But what does transpire is a series of atmospheric tracks that suggest moments where surface noises aid suggestions of memories felt, such as the darker tone of ‘From Out The Depths’, and then lead to clearer paths (‘Nara Sunset’) although (and interestingly) the murkier shades of any such fog never fully dissipates. A fourth outing for Andrew Tasselmyer with latest album ‘Surface Textures’ and it is one that will really get under your skin for numerous good reasons.

Having spent a bit of time with FLW recently via interview ‘Free of Limitations’, Canadian – Finnish alternative rock band FORTH see their second album released. The band’s latest album ‘Captivity’ marries influences from alternative rock, grunge, hard rock to even Elvis Presley himself. The twelve tracks on offer certainly wear their musical influences on their sleeves where pure 90’s grunge seeps from every pore of opening songs ‘Master and Slave’ and ‘Black Angel’ with nods to both Alice in Chains and Stone Temple Pilots. Elsewhere, there is much passion to be heard in the vocals of lead singer Brian Forth who cuts a defiant figure during the ballad-esque ‘Can’t Bring Me Down’ and then switches emotional camps with the equally good and more playful rhythm of ‘Let Me In’. With ‘Captivity’ drawing on the past in terms of its influences, FORTH is a unit that remains out of synch in terms of the here and now. That is not a negative, and meant in praise because FORTH is a band who are genuine fans of music (clearly indicated by the tracks on offer) yet remain unique in their quest by sticking to their own beliefs and producing an album with a strong 90s sound in the year 2019. Such a career path is to be commended by going against the status quo and realising your dreams. FORTH has managed that with their current long player as ‘Captivity’ subtly rages against any notions of musical trends and associated constraints with a barrage of songs that also finds the time to reflect on the highs and lows of love.

According to the liner notes rhythm and blues artist Joe Tex did not find success with his music until the year 1964. All prior attempts to make a breakthrough in the charts during the 1950s was greeted with a muted response apart from those who really appreciated the man’s singing and performing talents; most notably James Brown who, according to many people during the artists period at King Records, pilfered various dance manoeuvres including the microphone tricks, in addition to the “rapping” over the music from Joe Tex. Not to be hard done by though, Joe Tex persevered with his music by extending his talents to the song writing department as well as continuing his own path to break the charts. With four songs selected for this vinyl release, listeners can appreciate the impassioned vocal performances of the likes of ‘Davy, You Upset My Home’ and ‘Cut It Out’ where there is humour to be found in the former track yet jealousy has a habit of plaguing both songs. The tables are turned once ‘Open The Door’ makes its entrance with Joe Tex pleading for a second chance with vocals that can best be described on a par with the heat emanating from a blowtorch with both Little Richard and Jackie Wilson adding to the pressure. The influence of Little Richard can be heard during the closing ‘You Little Babyfaced Thing’ not only in Joe Tex’s voice, but also the pumpin’ piano and brass of this great rock ‘n’ roll number. Thankfully, Joe Tex managed to find success because it would have been a great injustice if the hits had eluded him judging by the quality on display here.

Second album for Finland’s Freedom Fuel and what a ride this second outing turns out to be! Pumped up and ready to unleash a combined sound of indie rock, garage, pop and swamp blues that made up their debut album ‘Happy People’ as well, Freedom Fuel begin season two (if you like) with the delightfully creative, weird and wonderful epic that is ‘Dancing’. It starts off with an indie rock stomp, before spiralling skywards and seriously loosening up via some bluesy swamp rock and then entering a third phase of mellow electronica and back to where it all began at the indie disco. A truly beguiling start and one that will leave you speechless such is its magnitude. The energy continues with the bristling and bullish rhythm of ‘Planet Away’, which also knows how to have fun judging by its lyrics. ‘DANCE!’ also knows a few moves of its own as there is plenty of room for experimentation during its playback with ‘Suspension Of Disbelief’ providing the strongest example with its static sounding electronica and lone vocal sounding like a direct transmission from space itself. The following ‘Goddageda’ explores this experimental side further by adding more weight to the instrumentation and ends up a combined mix of indie rock and blues rock that trips along another intergalactic space tunnel that is a journey to the other side. A massive leap forward as far as the creativity is concerned when it comes to Freedom Fuel and their latest long player ‘DANCE!’, which almost defies description and will leave you scratching your head in disbelief one minute, and the next grinning in sheer delight. This is down to its overall audacity and, yes, sense of freedom. A remarkable achievement, ‘DANCE!’ deserves to be heard.

Coming from a bleak period in his life, but not without forgetting to raise a smile and exude a belly full of laughs once in a while, is Jamie Hutchings fourth solo album ‘Bedsit’. Despite the initial blueprints of the album being conceived within the surrounds of the humble abode of its title, ’Bedsit’ was fully realised in a former shearing shed in the Australian outback. With the New South Wales environment providing a sense of vigour to the contents of ’Bedsit’, with the general stillness and fresh odours of its vast surrounds aiding a period of creativity and multi-tasking for Jamie Hutchings, with additional company by way of bass player Reuben Wills, resulting in nine songs before returning to the asphalt jungle. Delving deep in to the recess, ‘Bedsit’ has been described by the artist himself as “…a stark record, my starkest yet. It was recorded at a time when I was returned to the world of me, myself and I.” While that may be true of some tracks such as the personal and delicately executed duo of ‘Judas Is A Girl’ and ‘Walking Dream’, the latter reflecting a deep sorrow and likely to leave even the most hardened among us in pieces such is its authenticity, there are attempts to reach beyond the melancholy and offer a sense of optimism whether in songtitle or sound (‘Above The Rain’ and ‘Here Comes The Frost’). The true charm of this album however, is to be found by the stripped back nature of its recordings with minimal instrumentation used, often relying on the acoustic guitar and upright bass for example, where you can hear the odd shuffle of feet or a door being closed and leading out in to ‘December Park’, not to mention the album’s engaging and almost hushed entrance ‘Second Winter’ with its largely spoken word delivery that darts between surrealism and reality as well as providing moments of humour. Just as ‘Bedsit’ reveals numerous details regarding the artist at the centre of this record, it can be debated that such details remain far from clear due to being cloaked in mystery and caught up in the complexities of life itself. This is why ‘Bedsit’ is such a compelling listen, and for the intimate way its contents play out that requires further investigation.

Transmitting a melancholic electro-pop sound from Helsinki, Finland, is the duo MSRBL. With the new single suggesting that all of us are guilty of spinning a fabricated yarn or two, the synth team at the centre of this record set about their task and created a brooding, midtempo slice of electronic pop that’s befitting of a late-night arthouse movie setting and accompanying movie soundtrack. The additional video to the single, ‘Everybody Lies’, suggests the same outlook with its moody settings consisting of shadowy rooms and dimly lit streets where the occasional neon light glows. It’s a very good follow-up since ‘Echo’ for MSRBL, and one that potentially has much promise if they continue in a similar fashion with their next release.