With this being a joint release on two fronts, ‘Ljerke’ is the latest album from Eilean Records. Firstly, the ensemble that is Ljerke consists of various musicians from the Netherlands (Romke Kleefstra, Jan Kleefstra, Sytze Pruiksma) and Norway (Alexander Rishaug, Hilde Marie Holsen, Michael Duch), in addition to video artists Marco Douma (NL) and Haraldur Karlsson (Iceland). Secondly, ‘Ljerke’ is released as a double edition consisting of CD and DVD. In order to capture the live feel of this project, ‘Ljerke’ took its inspiration from the Frisian landscape and therefore evolved into a live improvisation including music, poetry and film in the same context of former projects such as Seeljocht (Piiptsjilling) and Skeylja (The Alvaret Ensemble). Considering this is a debut album from the collection that is Ljerke, and therefore setting forth the difficult task of combining many competing ideas to compile one final result, the end results hint at no such complications. What the listener gets is the bear spine of sounds that filter in and out of earshot during the opening  ‘Muurv’, and then proceeds along a fuller set of notes during ‘Tsjilland’ with a compelling use of trumpet, before plummeting some way into a cavern of darkness that is ‘Waarbekkasin’, which doesn’t make for easy listening. By combining numerous ideas from the high number of personnel that is Ljerke, the album of the same name is faultless in its overall execution, yet it’s the very sounds captured and created that leaves one trawling through a range of emotions and therefore sets up ‘Ljerke’ as an album that is far from easy consumption.

Having released their debut single back in 2014, The Heart Attacks scramble their creative ideas together once more to deliver a full-length album by the name of ‘One Beer Left’. In order to get the job done however, a new vocalist was recruited to their ranks by the name of Dusty Dave who applies a rather distinctive touch when it comes to the vocal department. With The Heart Attacks comprising of Lucky Steve (guitar), Dynamite White (blues harp), Rockin’ Bende (drums) and Ray Black (bass), who also served as producer for the record, Dusty Dave is in fine company as all concerned produce a mixture of predominantly raw blues songs. Such descriptions of the band’s sound  are noticeable from the opening blast of harmonica that introduces ‘Candyman Boogie’, and then followed by the rattlin’ rockin’ blues of ‘Ride & Roll’ and solid pace of ‘Good Rockin’ Rhythm’. ‘One Beer Left’ is not all about foot to the floor blues belters though, because there are slower tempos such as ‘Tough Enough’, with Dusty Dave’s vocal sounding more modern and revealing a different side to his vocal capabilities, to the catchy rhythm and reflective vocal of ‘Come Inside’, before ending up at the bottom of the blues barrel, emotionally, with two dark and gritty compositions namely ‘Champion Of The Blues’ and the album’s title track. There is a genuine feel of the entire band ploughing their way through a live set considering the flowing nature of each and every song, which was achieved due to the band performing together in the same room and with the recording being tracked live (Listen to ‘Worried Mind’, for example, which really projects the sentiments of its title). They may only have ‘One Beer Left’, but judging by the passion and musicianship at the centre of this record, Dusty Dave & The Heart Attacks certainly give a good account of themselves via their current record.

Longstanding stalwarts of traditional rhythm and blues, B. B. & The Blues Shacks resurface for their umpteenth album in as many years with ‘Reservation Blues’. By applying their creative hands to a vintage blues sound and, in particular, Chicago Blues, not to mention paying reference to jump and swing influences as well, B. B. & The Blues Shacks line up fourteen new songs of their own making. Starting with the wailing harmonica of the title track, ‘Reservation Blues’, and ending with much Hammond organ via the mid-tempo ‘Why Can’t I Go Home’, the quintet show all their years of experience with detailed observations of life’s ups and downs accompanied by skilled musicianship. Any listener will find themselves up on their feet once the infectious rhythm of ‘Lay Some Shuffle Down’ works its way under the skin, before ‘Mad About You’ weaves an entirely different yet equally compelling spell of soulful vocals that will leave you in awe. Sadly, follow up songs ‘I Can’t Go On’ and too much Hammond for our liking ‘Angry Cat’, and not too dissimilar ‘Honeycomb’ pale in comparison. Fear not as ‘Reservation Blues’ finds its feet once more with the above mentioned Chicago Blues playing its part for ‘Year Of Strife’, and then giving way to more soulful vocals during ‘From Now On’. The tempo slows for the excellent ‘My Time Ain’t Long’ that is full of reflection and lets in the brass instruments. If you’re looking for an album with much depth in terms of its compositions where song narratives are of equal importance to the musical output, then you’ve come to the right blues shack where you will find a reservation under ‘Reservation Blues’.

Returning with fourteen brand new and original compositions is The Margraves and their new long player ‘Primitive Beat’. With this being a sophomore effort, the trio that is Bobby, Mick and Ray Margrave set rich vocal harmonies to driving guitar beats that sound effortless in their executions such is the professionalism of the entire album. This is largely down to experience as The Margraves has built up a following over the years having performed live in various different cities throughout Europe and the US. With the addition of a tenor sax to The Margraves sound, and supplied by Ray Margrave, in addition to (background?) member Mark Margrave pounding away on the drums, the new album immediately whips up a rock ‘n’ roll and late 50’s surf-rock  sound from ‘She Shakes’ to ‘Just Right’ and ‘Not Guilty’. The aforementioned saxophone makes its introduction during the instrumental ‘Guilty’ and reveals another dimension to The Margraves sound, which is used to even greater effect during the moody ‘Desperate Man’. The album’s title track lives up to its name with amusing lyrics mentioning the nightmare scenario of waking up in unfamiliar surroundings and then struggling for a way home played out to a deliberately primitive beat. ‘La Matadora’ injects a touch of the dark stuff in terms of its rhythm, before ending on a catchy number with ‘Black Widow’. It can be said that it’s business as usual with The Margraves and album number two, as the band deliver a highly polished collection of rock ‘n’ roll songs, with a few additional touches that gives their sound added lift.

Canadian indie psychedelic outfit The Crowleys return to the fold with a new single, and follow up to the sublime ‘L.A. Sunset’ released a only few months ago. The latest recording sees The Crowleys take their sound and vision into the night air largely due to a severe bout of insomnia as ‘Midnight Blue’ is referred to by the band as “where your mind takes you on a sleepless night” and therefore where they currently find themselves. There is no suggestion of lethargy here, despite the lack of rest as the tone of the new single is rather upbeat where a surf guitar sound maintains freshness throughout and one that shines brightly with the other thousands of stars held by the night sky. The specialist skills of a cryptographer are required however, when attempting to decode the song’s lyrics (It’s always a good idea to make the listener work for their listening pleasure) as The Crowleys make use of a vocoder to give voice to the robotic figure central to the band’s music video that accompanies the single ‘Midnight Blue’, which imaginatively captures the notion that there is lot more going on behind the exterior of anyone’s facial expression. If anxiety and loneliness are the key emotions being subtly suggested here, then The Crowleys apply the same approach to their latest release by expertly handling such feelings behind an engaging and upbeat tempo that is ‘Midnight Blue’.

Hats off to (probably) the hardest working artist, DJ and producer on the planet, Benjamin Finger, who pops his creative head above the parapet with his umpteenth album that must be close to rivalling the high output set, and still ongoing, by American experimentalists, The Residents. The latest addition to the Norwegian’s catalogue of ambient mood pieces is ‘For Those About To Love’, which focuses on that very subject of its title but, more noticeably, the emotions leading to the very potential of this subject. With hints given in the song titles from ‘Lipstick Shades 1’ to ‘Eyeball Humidity’ where preparation can be everything but also not quite the outcome one hopes for when expectations falter considerably, the approach Benjamin Finger assumes in relation to his latest album is certainly all about preparation. With a real piano, as opposed to the electronic kind, wheeled out once more after working so well during previous album ‘Ghost Figures’, ‘For Those About To Love’ begins its journey from a near empty barroom waking up from the night before, and then proceeds to take its next steps out in the open and blinking in the sunlight, until becoming lost in a fog of scratched electronica and wispy vocals, such is the uncertainty expressed via  ‘Lipstick Shades 1’. The mood reverts to a darker tone (similar to previous long player ‘Motion Reverse’) during ‘Midnight Wolves’ with its futuristic sounding beats giving the impression of scanning for any sign of life or potential threat depending on your own interpretation. Taking a different turn, however, is the brighter sounding ‘Ultraviolet Light’ with its stronger use of vocal sounds, which is repeated during the excellent ‘Transparent Mind’ that exposes a whole array of thoughts continuously spinning on a carousel of sounds.  Always a difficult prospect to define in its entirety, due to the shifting shades of colour when it comes to emotions expressed by the electronic instrumentation used throughout here, not to mention the new surprises and experiences found with each and every listen, but it is the manner in which Benjamin Finger balances these various shades of colour by instrumentation (in particular the gorgeous ‘Melanphony Waltz’ complete with acoustic guitar) that sets up ‘For Those About To Love’ as one of his most complete works to date.