The name Martin Hagfors is one associated in Norway with a prolific work rate that has resulted in eighteen albums and a long line of song writing contributions for the likes of Askil Holm, Big Bang, Ida Jenshus, Motorpsycho, The National Bank et al. Hagfors latest release entitled ‘Producers Politics Passion’, minus the punctuation, is a match made in heaven for those who have a soft spot for indie pop music with a definite left-field approach. Having enlisted a whole host of guest musicians including such names as Anne Lise Frøkedal, Jenny Hval, Erlend Mokkelbost, Anders Tjore to name but a few, ‘Producers Politics Passion’ is as much about the ‘passions’ of these talented musicians as it is the man in the hot seat, Martin Hagfors. Beginning in fine fashion with the suggestive ‘Kinky Lovers’, due to being a likely example of a composition that a certain Brian Wilson conjures up in his dreams with its lovely warped qualities of mild electronics and vocal delivery. The following, ‘Leaning To The Left’ is open to interpretation (“I might sound out of date…”) but most likely the ‘Politics’ segment and contains some fine musicianship. The dreamlike ‘You’ve Been Replaced’ again contains many different facets when considering its overall meaning, but one clear revelation is that it is a supremely clever ditty that manages to incorporate elements of ‘I’d Like To Teach The World To Sing (In Perfect Harmony)’ as a means to emphasise its overall message considering the redundancy in the title. There are moments of playing it straight with the easily distracted by how infectious this seductive mellow pop is with ‘Easily Distracted By Love’, until the distant chill of ‘Earl Is Gone’ brings the mood back down, but compellingly so, via some delicious vocal harmonising. ‘Producers Politics Passion’ is a ‘gammeldags’ recipe consisting of intelligent and insightful pop music with a few quirky edges, the kind of which used to be more frequently accepted by the mainstream. As it stands, Martin Hagfors and his musical associates have just produced a winning formula that demands a follow-up if ever the desire exists.

Alida’s former single ‘Next Plane’ managed to cause a wave of enthusiasm on various radio playlists throughout Norway due to its alluring vocal and mild, atmospheric electronica that played out to a narrative full of unrequited love. The next destination for Alida is right here and now with a full-length offering, of sorts, by way of a mini-album. Arriving in two parts, which makes for a refreshing change, ‘To Where We Reside’ is the first instalment before the next chapter arrives with an equal number of tracks that will complete this concept. The previously mentioned ‘Next Plane’ is included here, and greatly complimented with the transcendent qualities of ‘Tell Me’, that provides an explanation to the visual imagery of the cover art, and perfectly constructed indie-pop of ‘Feathers’. By offering a condensed version in terms of ‘To Where We Reside’, the songs making up this mini-release should receive the care and attention they deserve, considering the exquisite and piano-led ‘I Get Lonely’ and pop dynamics of ‘Hunger’; the latter of which is the appropriate description when waiting for the next segment of this two-part series.

The evolution of rockabilly and rockin’ sounds continues by way of Bakersfield with Bear Family’s second chapter titled, ‘The Other Side Of Bakersfield’. With in-depth liner notes and super rare photos regarding these particular artists of the 1950s and 60s and the record labels involved,  the usual care and attention from Bear Family is applied to the entire package as volume two of the Boppers and Rockers from Nashville West is on equal par with its predecessor. For example, the same quality and breadth of creativity is found throughout ‘The Other Side Of Bakersfield Vol. 2’, but where this differs slightly is the evolving sound of the musicians involved, edging closer to a fuller-sounding rockabilly description, to cite one example, that is beefed up and tighter in its execution. Particular delights of this second instalment include the ever reliable Ferlin Husky with ‘I Feel Better All Over’; the ballad-esque ‘Teenage Tears’ from Cliff Crofford; the wonderful off-kilter delivery and in line with its narrative of Corky Jones’ (Buck Owens) ‘Rhythm and Booze’ and George Weston’s rockin’ ‘Hey Little Car Hop’. Special mention goes to the sublime ‘Can’t Go On’ with a vocal to melt the sternest of hearts that leaves one to ponder why the name Dallas Frazier was not exalted to greater heights despite achieving success as a songwriter for a host of artists. A superb second volume, ‘The Other Side Of Bakersfield’ is worthy of high praise indeed.

Fourth instalment in the Rockabilly Roads series that sees no let-up in terms of quality control with a plethora of modern-day rockabilly and rock ‘n’ roll artists touting their own creative writings rather than adding a fresh spin on an old cover. The ‘jungle’ theme given to this fourth Rockabilly Roads volume is more about the red-hot electricity coursing through more or less each and every track rather than anything specific coming out of the wilderness. First indication of such a scorching atmosphere comes by way of Mike Barbwire & The Blue Ocean Orchestra with their ‘El Sótano Calling (S.O.S ROCKN’ ROLL), which is an instrumental with a Latin flavour coupled with a stinging guitar, monstrous sax and surprising turn of events with a brief yet wondrous string section midway that sets the bar incredibly high for the rest of the competition to follow. After such a magnificent start, Swedish rockers and regulars to the Rockabilly Roads series, John Lindberg Trio do not let the side down by way of their usual high standards of consistently good rock ‘n’ roll with knowing pop sensibilities that is ‘Hit Me’. Where John Lindberg Trio add a modern gloss to the rockin’ revival, Ruby Ann’s ‘You Gotta Pay’ and subsequent Honeyboy Slim & the Bad Habits ‘Screamin’ Mimi Jeanie’ really drum up a sense of nostalgia with authentic takes on a 50s sound; the former a mid-tempo setter that is commanded by Ms Ann’s compelling vocal, whereas the latter is a full-blooded rocker and reminiscent of Jerry Lee Lewis. It remains this very balancing act between replicating an inch perfect rockin’ 50s period sound, and one that stems from the same origins but with various additional elements providing a more up-to-date feel (20th Flight Rockers, The Caezars, Reverend Horton Heat), which is why this rockabilly series truly works.

Reviving a musical passage confined to the history books by dragging it into the present, This Sect possess an undisputable post-punk and indie influence with a definite whiff of the eighties when it comes to their sound, but one that is given a slightly modern edge considering the grooving rhythm of former single ‘Bookburner’. The giveaway, however, to such references can be heard in the shimmering and echoing effects of the guitars that is reminiscent of such 80s innovators The Chameleons and Bauhaus, as well as paying their respects to such record labels as Dischord with the aforementioned post-punk sound. With this being a debut album and one that has taken considerable time to fully realise, the benefits of such a lengthy gestation period are revealed in the tight musicianship which creates moments of genuine tension as well as providing a sense of holding the ship together. For lead vocalist Gøran Karlsvik, the title of This Sect’s debut long player seems to literally plague his very being, with his vocal giving the impression of pulling the songs along but with considerable suffering involved due to the immense weight of the lyrical contents contained within. Such indications can be identified from the layered guitars and melodic bursts of ‘Lines On A Trail’ where there appears no exit from troubled times, to the (some might say) actions of a philistine with the tortured ‘Bookburner’ and major clue that is ‘Detox The Soul’. As brief as ‘Shake The Curse’ stands, This Sect manage to cram a succession of deeply intense emotions that are often cryptic in nature, with an equally forceful brew of raucous guitars and additional synth that harks back to a period in music that is sadly missed and thus rendering ‘Shake The Curse’ utterly essential.

Upping the ante further with album number three by adding the production skills of British producer Eliot James (Two Door Cinema Club, The Futureheads, Kaiser Chiefs) and enrolling fellow Brit Simon Walker to help out with lyrics, Montée is willing to take chances in order to broaden their sound but also their appeal when it comes to reaching new audiences. The results appear to be a winning success judging from the fuller sounding and more consistent quality of the songs making up ‘Into The Fray’. The eighties influence blended with modern pop-disco tendencies remain and clearly evident from the off with ‘Saviour’ that receives extra plaudits for its decision to include backing vocals that take this ditty to another level. ‘Icarus’ has a sense of familiarity about it, which is a compliment, with its gliding rhythm that almost suggests a smoky jazz texture when really it’s a reflective synth number that has lead vocalist Anders Tjore sounding rather like Bowie on occasions with a desire to remain detached from society, and it really is that good. The infectious melodies continue their charge with ‘Animal Traits’ and ‘The Beast In Their Nature’, before ‘Picture Paradise’ offers a different perspective with its colder rhythm and more measured pace. For fans of Human League, Heaven 17 and more recently Van She and Empire of the Sun, ‘Into The Fray’ should see Montée victorious judging by the overall quality and consistency of their latest album.