If this is the sound of mere frivolous fun, then please serve up some more in double quick time! The timing for Great Sale Day and their ‘Wild and Chunky’ first long player finds itself competing for customers’ attentions with America’s Black Friday looming round the corner; the only difference being that the level of seriousness when it comes to maximising full exposure of one’s commercial goods is of a fairly low-key nature when it comes to the former. Hailing from Brighton and therefore signalling another difference to their US counterparts in terms of geographical location, Great Sale Day is the result of a group of friends of former bands, or those still in existence, coming together to create merriment rather than anything overly serious according to guitarist Andrew Fisher: “The band is just something fun that we decided to do while we were out for food one night.” Eleven songs later that form a reunion with a 90s alt-rock sound that is definitely a Stateside influence than anything British, Great Sale Day induce memories of Weezer and Nada Surf with coarse guitars that churn out melodic tunes to the beat of ‘Up In The Clouds’, ‘Best Friends’ and the rather frantic rhythm of ‘Calm Down, Slow Down’.  There are frustrations of the heart during the strolling pace of ‘True (Why Can’t You Be)’, which adds variation to the set; ditto the slow climb from its slumber before slamming on the brakes in throat clearing fashion of ‘Wake Up’ which is definitely not sensing the aforementioned fun but remains one of the frontrunners for strongest track. By giving the impression that ‘Wild and Chunky’ is something of a light-hearted get-together and nothing but a side project until the real work begins, the reality is that Great Sale Day has actually crafted an album’s worth of material that deserves nothing but serious respect.

After a lengthy bout of tour dates throughout 2014, Imperial Leisure show no sign of winding down their schedule as step forth new four-track EP ‘Razzle Dazzle’. Causing reason to celebrate by rejuvenating the classic ska sound of the early eighties, but at the same time dusting this influence down and intertwining it with other components consisting of indie rock and postpunk, Imperial Leisure remain a flailing mass of anxious energy that is underpinned by their frantic sounds and barked vocals. First example fitting this description is the EP’s title track blazing fast on a wave of brass instrumentation and guitars, with a fidgety lead vocal to match the sensitive subject matter at the centre of this song. ‘Festival’ is more concerned with a leisurely pace in order to get its message across as musically it’s less troubled, starting out with simple drums and singular guitar and then supported by some brass and backing vocals before eventually picking its feet up and finding a faster rhythm.  If only all songs could flow with the same brass backing as evidenced throughout ‘Lucky People’, with its midway punctuation via a trumpet that simply enthrals, then the world would truly be a more harmonious place. With recent single ‘Nasty Boy’ applying the final touches with a bitter aftertaste in its mouth and appropriately reflected by a return to the frantic tempo of before, Imperial Leisure is closing the door on 2014 in magnificent style!

Sounding beyond her years rather than the tender age of sixteen, Sarah Nærø Pettersen marks a new entry in her recording diary with the single ‘Burn’. By enlisting songwriter and producer Knut Vegar Prytz, who was involved in the song writing process for Norwegian artist Frøder’s ‘Speed of Sound’ which was B-listed on P3 Radio, this collective meeting of the minds results in a pop ballad that is meditative in its rhythmic pattern, greatly emphasised at first by piano and drums before revealing a richer sound by the time the song’s chorus arrives. While there is an air of confidence surrounding this single, ‘Burn’ is most definitely scorched around its edges with Sarah Næro Pettersen turning in a solemn performance that is struggling with a broken heart yet remains unwilling to give up the slightest glimmer of hope on a relationship that has since expired. ‘Burn’ is an engaging listen brought further to life by an equally impressive vocal that suggests years of experience when, in fact, is just starting out. Such qualities are hard to come by.

The current surge of eighties bands not only making a comeback, but doing so credibly with brand new material is gathering at some pace. Latest off the block with new album ‘Big Music’ is Scotland’s longstanding Simple Minds. Having undergone a renaissance in recent years after the band’s decision to rediscover their early material, which saw them embark on a worldwide tour performing five tracks from each of their first five albums, the core of Jim Kerr (vocals), Charlie Burchill (guitars) and Mel Gaynor (drums) continue this journey as ‘Big Music’ treads similar experimental ground yet retains a more accessible side for the majority of its contents. Examination of those past creative endeavours also led to a calling on the experience and expertise of co-writer Iain Cook, of Glasgow band Chvrches, and producers Steve Osborne, Andy Wright and Steve Hillage – who worked on 1981’s ‘Sons And Fascination / Sister Feelings Call’. ‘Blindfolded’ opens the gates and one is reminded of ‘I Travel’, with its incessant rhythm suggesting a genuine feeling of motion sourced by a strong wave of synths and Burchill’s guitar. First impressions of the actual song ‘Big Music’ provides the first, real indication of a song that is not as clear-cut in its aims, despite massive beats propelling it forward and living up to its title, due to the gritty current coursing through it and then taking a turn skywards in swathes of keyboards providing a more soothing edge. Such songs make for compelling listening and further indication of the wise decisions Simple Minds find themselves taking by following a less commercial route and setting challenges, which first single, ‘Hometown’ suggests, as it will require a measure of patience due to its measured pace. There is great vigour to the excellent ‘Human’ that really gets under your skin after a few repeat plays, which also rubs off on the echoing, fuzzy static of second reworking (see ‘Graffiti Soul’ deluxe edition) of The Call’s ‘Let The Day Begin’. Similarities can be drawn with the aforementioned ‘Hometown’ and the considered tempo of ‘Blood Diamonds’, which reveals the experience and depth at the centre of this band. To suggest that ‘Big Music’ is a major comeback for Simple Minds would be discrediting the steps which led to this reinvigorated state – namely, ‘Neapolis’, ‘Black & White 050505’ and ‘Graffiti Soul’ – as the signs were already evident to the glorious position Simple Minds find themselves once more. ‘Big Music’ is therefore another addition in their current creative evolution, but one that is definitely their most consistent in terms of a return to their creative best.

Only in his mid-twenties, the name Ben Poole has come a long way in a relatively short space of time. Such progression for this blues-rock maestro is hardly surprising considering the solid foundations having been put in place after acquiring a degree in music at Brighton University and then opening his recording account in confident manner with the EP ‘Everything I Want’ and ensuing full length debut album ‘Let’s Go Upstairs’. Latest release ‘Live At The Royal Albert Hall’ is great testament to the musical strides Ben Poole is making considering the prestige of the Royal Albert Hall, but it is also an album that sees Ben Poole in his natural environment of a live setting where he is truly able to capture the raw energy and passion of his own compositions, in addition to a smattering of covers. The dextrous playing is evident throughout ‘Live At The Royal Albert Hall’ as Ben Poole blazes a trail of musical delights along with his band consisting of Craig Bacon (drums), Mat Beable (bass), Sam Mason (keys) and Amy Eftekhari (vocals) with the early runner ‘Let’s Go Upstairs’ containing some white-hot guitar and the burnt feelings of ‘Love Nobody No More’ being two such examples. Taking up the middle section of this live set is the previously mentioned selection of cover versions with The Temptations ‘(I Know) I’m Losing You’ given a gritty rendition via some bruised vocals, robust guitar and swirling keys, before handing over to the more than respectable versions of Otis Redding’s ‘Mr. Pitiful’ and Billy Myles’ ‘Have You Ever Loved A Woman’. Despite ‘Live At The Royal Albert Hall’ being a landmark achievement in the early stages of Ben Poole’s career, any temptation to rest on his laurels is not something this blues-rock artist is willing to entertain as the bonus entry of a new composition ‘Starting All Over Again’ sets up the next instalment as a seriously mouth-watering prospect. Until that time arrives, ‘Live At The Royal Albert Hall’ serves as an entry point for those less familiar with this emerging talent, but also this live recording captures the true identity of Ben Poole in a live setting. Highly recommended.

It’s time for more Backseat Boogie with their latest release ‘Cut Out To Rock’. Continuing their affiliation with rockabilly and adding much saxophone to the recordings, these rockin’ cats from Italy never take the easy route as latest album ‘Cut Out To Rock’ is jam-packed with much detail and running to a full fourteen tracks! With the title track setting out its intentions from the start, there is clearly one thing on its mind and that is to rock! Following number ‘The Worst And The Best’ reflects two sides of a personality yet retains a clear vision musically with its infectious rhythm containing some sharp guitar and bursts of saxophone that provides this song with a real attitude. ‘Water Out Of Stone’ really stumps up a miracle by transporting the listener back to a bygone era where rhythm and blues and swing dominated for a period, considering the quick footed and relentless pace created by The Backseat Boogie during this particular song. There is a genuine swagger to ‘First To Come (Last To Leave)’ that also reveals The Backseat Boogie’s attention to detail when it comes to the song’s instrumentation. Such is the strength in depth here, that other songs allow for experimentation with ‘Hit The Iron’ letting in the blues with an enthusiastic harmonica firing its engine, and with another twist materialising with the country inspired ‘I Can’t Take It Anymore’ that makes use of the harmonica once more and comes complete with rowdy whistling supplied in the background. Another string to The Backseat Boogie’s bow is their ability to tackle other issues whether speaking out on hardships of city dwelling (‘In The City’), repeating this social commentary via instruments only with ‘Postcard From Zombieville’, or revealing much anxiety about the pains of losing one’s barnet; wonderfully portrayed in a humorous style that searches for answers with an out-of-date bottle of shampoo coming under scrutiny as one possible cause! Nearing the end of ‘Cut Out To Rock’ is quite possibly the standout track under the intriguing heading ‘Long And Silent Drive Back Home’. By utilising drum brushes to exemplify the late-night feel of this pared back song, and containing some fine lyrics to illustrate its heavy heart, ‘Long And Silent Drive Back Home’ is a perfect example of a band at the top of their trade. If you haven’t managed to take a ride with The Backseat Boogie yet, then now is the time to jump on board as this is one band not to be missed!