Just when you think you have heard it all before, up pops an absolute belter of an EP with much depth and creativity to suggest there is considerable mileage left in the tank when it comes to a vastly populated scene that is post-hardcore (add your own definition here). The band responsible for this vehement and at times diverse collection of songs is Bastions, who bring the curtain down on their Bedfellows concept with second instalment ‘The Forgotten Daughter’. Whether it’s the restrained qualities of the brooding ‘Empty Vessel’ with its forlorn subject matter that is instantly mopped up by the raw and breakneck intensity of ‘Foreign Bodies’ to the chaotic shrill of ‘The Water Tower’, Bastions appear to be offering (appropriately) their final thoughts on a deeply sensitive area before confining it to history. The final statement, however, is left to the threadbare opening of ‘Murmuring’ with its admission “I’ve got it so good, I’m lying to myself” that runs a little too close for comfort due to having more than a ring of truth about it. On the strengths of this EP, the next recorded output from Bastions is going to be a tantalising prospect indeed.

The 80s revival is in full swing as we enter the early stages of 2014 with Norwegian five-piece Shatoo. Back from a long hiatus, Shatoo dust down the synths to bring an instantly memorable slice of pop music with the rather infectious and open admission that is ‘Floodlights’. With a whole host of remixes providing various interpretations of the title track, helping to revive further the 80s nostalgia due to being a regular feature of single releases during this period, Shatoo appear rejuvenated and no doubt buoyed by the likes of 80s electro-oddballs Empire of the Sun, for example, that a comeback of sizeable proportions could well be on the cards.

Moody and atmospheric best describes the opening submission ‘Verden e du’ from west coast Norwegians Fjorden Baby! as it inhabits the same endless void that Spacemen 3 and Sonic Boom were merrily residing in not so long ago. Any further such comparisons ends right there as the comfy psychedelic slippers are tucked away once ’11 etasje’ twists and turns in various directions of warped electronica and elements of dub with only the aid of a mild rap for guidance. ‘Tingene’ is mid-nineties New Order but with a Bergen dialect and will no doubt be the musical accompaniment to TV2’s football coverage when they decide to show the highlights in slow-motion next season. Despite the hotchpotch of musical references, ‘Fjordkloden’ functions with ease and is a real delight, especially during the chunky rhythms and gloomy 80s outlook of ‘Shanghai Express’, which is proceeded by near jangling indie guitars of ‘Vingene’ sweeping down on the back of some enchanting vocals and leaving nothing but a warm afterglow. ‘Vinduene’ offers yet more of the straightforwardness coupled with genuine oddness as it meanders at a steady pace before breaking into a trot of rumbling drums and a vocal attempting to bring some form of solace to the central commentary. An absorbing and thrilling experience, ‘Fjordkloden’ really deserves the upmost respect.

One couldn’t move without hearing the ubiquitous ‘Chelsea Dagger’ a few years back from Glasgow’s The Fratellis due to its infectious pop hooks seemingly infiltrating every pub, club and football stadium in the land. Little wonder that The Fratellis is still a going concern as they have a knack of crafting short, sharp and, more times than not, irresistible indie blues rock numbers with an occasional sprinkling of pop dust as it’s business as usual with ‘We Need Medicine’. This time around there is a real sense of determination to wake the nation from its slumber with the rolling rhythm of ‘Halloween Blues’ – “When you’ve got the Halloween blues it’s best to complain, give them a stare and you’ll keep them awake” – suitably followed by the attempted sprint through ‘This Old Ghost Town’ with its pent up emotions played out via driving keyboards. Recent single ‘Seven Nights Seven Days’ lets in a little country twang but fails to lift the disillusionment felt, whereas ‘Whisky Saga’ is trademark ‘Fratellis with its jaunty rhythm. ‘Rock N Roll Will Break Your Heart’ soars to another level which, on this sort of form, can also save your soul. Without perhaps knowing it themselves, The Fratellis possess all the ingredients to counter any persistent ailments because third album in, ‘We Need Medicine’ is quite simply the perfect remedy.

Having tussled for pole position, there was simply no separating the two slices of garage-infused punk rock courtesy of Glasgow’s The Creeping Ivies as latest single ‘What Would Joey Ramone Do? / Ramona Wolf’ comes issued as a double A side single. A wise decision indeed as lead vocalist Becca Bomb gets all riled over the state of modern living during ‘What Would Joey Ramona Do?’, ably supported in her frustrations with a primitive pounding rhythm supplied by Duncan Destruction. ‘Ramona Wolf’ is wailing at the heavens and powered by similar rhythmic beats, albeit performed at a slower tempo, and bringing to mind the likes of Patti Smith and PJ Harvey as it wades through some very murky waters. With an album scheduled for next year, it will be interesting to see what impact The Creeping Ivies will have on a wider and possibly unsuspecting audience. One thing is for certain, however, they will definitely ruffle a few feathers along the way.

It seems an eternity since critical appraisal was bestowed on Lissie’s debut album ‘Catching A Tiger’ but the wait has certainly been worth it as ‘Back To Forever’ is bristling with energy and a little more robust than its predecessor. There is also a maturity to the songwriting as there is more of a consistency overall, such is the depth in quality ranging from the borderline country-rock ballad ‘They All Want You’ to the pounding rhythm and confessional ‘Shameless’ as both songs refer to the superficialities associated with fame. ‘Sleepwalking’ is straight out of Stevie Nicks’ handbook with its pop-rock catchiness. ‘The Habit’ and ‘Further Away (Romance Police)’ also get in on the act with their fleeting resemblances to Fleetwood Mac; the latter of which impresses the most with its brooding attitude and climatic finale. ‘I Bet On You’ is further evidence of the full-bodied approach adopted by Lissie, and all the better for it, as it is one of those songs that possesses a slow release when it comes to familiarity that will creep up on you days later with its infectious hooks hammering away at your senses as it is simply that good! ‘Cold Fish’ is an oddity whereby it works on certain levels but sounds clunky on other occasions whereas ‘Can’t Take It Back’ lands on more familiar turf with its driving pop and a reminder that Lissie can forge a path along such lines if the desire becomes too great. There is none of the second album blues when it comes to ‘Back To Forever’ as it is a resounding success that makes it 2- 0 to Lissie.