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The King of Cape

Alfred Hall

Sony Music Norway

It’s been a couple of years since Alfred Hall’s ‘Wilderness’, but with latest single ‘The King of Cape’ it’s like the duo haven’t been away. Picking up where their debut album left off, the song writing partnership of Bjørn Tveit (vocals/guitar) and Thomas Klær (guitar) reintroduce themselves with their distinctive sound of hushed vocals backed with an uplifting melody as ‘The King of Cape’ is the equivalent of daylight slowly revealing itself of a morning before making its full entrance and setting the day in motion. Having developed their profile that now extends outside of their native Norway, primarily as a result of the EP ‘Alfred Hall’ being released in 2014 internationally, as well as productive campaigns with Netflix and Cerveza Pacifico Clara respectively, the next step for Alfred Hall is an intriguing one because while ‘The King of Cape’ is a delightful reminder of the glorious sounds of their debut album, the real challenge will be to see if the duo can develop their sound to the next level rather than simply reduplicating their previous long player. It is sincerely hoped that the boys from Drammen manage to pull off the former option.

Released Out now


Godzilla Vs. Poutine


Robbob Music

Providing food for thought, Canadian Robbob’s second album is ingeniously constructed along a central theme of food and quite possibly a love-hate relationship with this subject considering the album’s artwork depicting Godzilla confronting the traditional Canadian (junk) dish of poutine. Having fallen in love with the vibrancy of the neighbourhood of Limoilou, Robbob set about forming a backing band by the name of Limoilou Libre Orchestra consisting of Samuel Poirier (upright bass), Jean-Sébastien Gauthier (lap-steel guitar) and backing singers the Robbobettes. In addition to the recording of this sophomore album, the Everlovin’ Jug Band provided assistance with two of the songs, making this long player a genuine team effort rather than a personal pursuit. While ‘Godzilla Vs. Poutine’ is a record full of novelty songs, it’s a project worth taking seriously for the manner in which the songs are constructed around predominantly country and folk music and then injected with smart and witty lyrics evoking memories of a genre that rose in popularity during the post-war years. Such nuggets can be found once the aftermath of the city rubble clears (It’s a Godzilla thing!) with deep consideration given to the body parts of a heron with ‘Starin’ At A Heron’; the chuggin’ guitar adding to the catchy tempo of the album’s title track, and saucy narrative of ‘Yodelling For Your Noodles’ complete with Hawaiian sway are enough to keep the poutine at bay. Even song ideas such as ‘Hug A Slug’ probably shouldn’t be seated at the table but it remains the delivery of the song that compels, with Robbob and the Robbobettes finding great form vocally. It’s the seriousness of the musicianship that helps to provide an even balance to the frivolous nature of the lyrics that makes ‘Godzilla Vs. Poutine’ a refreshing release indeed.

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Blue Planet Eyes

The Preatures

Universal Music Norway

Hailing from Australia, The Preatures has been making great strides having supported the Rolling Stones last year, as well as writing and recording their debut album. Having two well-received EPs to their name, it was time for this Ozzie five piece to set their collective ideas to a full-length record. With producer Jim Eno from Texas rock band Spoon jumping on board to guide The Preatures through their first album, this debut was recorded at Public Hi Fi studio in Austin, Texas and then finalised at Doldrums Studio in Surry Hills with the band’s own Jack Moffitt (guitar) co-producing. The end result is ‘Blue Planet Eyes’; an album that sets pop music as its central source but, at the same time, possesses shades of dance music and indie guitar rock. It’s a bold manoeuvre that starts ‘Blue Planet Eyes’ with, in fact, the album’s title track as it’s more of an instrumental composition, gliding on a wave of mild electronics and offering the slightest of vocals from Izzi Manfredi. The Preatures personality really comes out from its hiding place once ‘Somebody’s Talking’ bounces into view and proves to be utterly irresistible with its 80s classic pop feel; the kind of which the likes of Blondie used to produce during the early part of that decade. There’s a bit of a funk groove accompanying ‘Is This How You Feel’, with Izzi Manfredi showing the ranges of her vocal to great effect which, again, takes a slight deviation once the mild rock influences of ‘Ordinary’ take a hold. It remains true that ‘Blue Planet Eyes’ embraces a variety of influences whether a stirring ballad via ‘Two Tone Melody’ or darkened, distorted pop of ‘Rock And Roll Rave’. Despite such diversity, the lines never become blurred as to its overall intentions as The Preatures remain rooted in pop music, but one that lends itself to other influences, making this nothing short of an absorbing debut album.

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Little May (EP)

Little May

Universal Music Norway

Putting together six tracks for their current release is Australian trio Little May. Comprising of members Annie Hamilton, Hannah Fjeld and Liz Drummond, Little May has been dubbed the ‘The Australian Haim’ by their native media, as well as receiving considerable recognition overseas with UK radio stations particularly impressed by the song ‘Hide’. If it’s indie folk influenced songs you’re after, then you’ve come to the right place as the ‘Little May EP’ is a source rich in supply. First song off the block is ‘Dust’ which gives way to a rolling, tumbling rhythm after beginning in the quietest of fashions. The power of the vocals are often hypnotic whether at their faintest decibels à la ‘Boardwalks’ or falling in and out of the shadows and adding to the tension conveyed musically and lyrically in relation to ‘Hide’. Little May really dig deep with the husky delivery of ‘Bones’, that is unlikely to hear a response to its repetitive questioning, “Do you feel it in your bones like I do?” and one can almost feel the hurt inside such is the sincerity given here. Sometimes in life the best things come in smaller packages as the ‘Little May EP’ adequately suggests.

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Ine Hoem

Propeller Recordings

Having been the recipient of several awards, as well as a Spellemann (Norwegian Grammy) nomination back in 2010 for her vocal duties with eclectic sounding Norwegian outfit Pelbo, Ine Hoem takes the plunge into the deep end by setting out her own stall with solo album ‘Angerville’. With this being a first album for vocalist Ine Hoem, her debut release actually came in the form of an EP by the name of ‘The Island’. This was the step in a new direction that saw Ine Hoem adopt a pop approach, which proved a success as the EP received heavy rotation on the nation’s radio networks and a further award as winner of ‘Musikkprisen’ at Ocean Sound Recordings. Once momentum had gathered, Ine Hoem set to task writing and recording the songs for ‘Angerville’, with additional production duties coming by way of up-and-coming producer Kristoffer Bonsaksen. With the first sign of life arriving last autumn with the single ‘This Year’, Ine Hoem immediately captured the imagination with her unforced vocals and lyrics purporting to achieve a longlist of ‘to-do’s’ when the reality of such dreams remains on far safer grounds. Ine Hoem manages to retain much attention via her pristine vocals; exemplified by the heavenly introduction to ‘Caroline’ which proceeds to carry the rest of the song and entire contents of ‘Angerville’ in similar fashion. Elsewhere, ‘Lost Lovers’ is a relatively pared-back composition and has the feel of a first-person narrative given the natural qualities of the vocals helping to piece together the initial steps of a relationship before its ultimate demise, which comes as no surprise considering its bold pronouncement of not feeling the ‘love’ for Bob Dylan! There is time for reflection with the joyful sounding ‘When We Were Young’, but is let down slightly by the twee narrative. Such a discrepancy is soon amended by the fragile and honest admissions of ‘I Will Follow’ only to be outdone (just) by the sublime ‘When We Collide’, which is equally sincere in its emotions only it’s the thorny opposite in terms of its predecessor. Engaging, heartfelt and gifted with a vocal of divine qualities, Ine Hoem will have no problems making a name for herself along this solo route just as long as she can continue to stave off the feelings of loneliness that seem to be impregnating ‘Angerville’ at nearly every turn.

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Happy People



Following on from 2013’s ‘In Love’ album, indie quartet, Peace expand their creative range with ‘Happy People’. Despite the wider expanse of sound on offer here, Peace retain their affection for a good pop melody and sense of rhythm, which has a habit of creeping up from behind and making itself known once the chorus hits of ‘Gen Strange’, for example. The title of the record is not to be taken literally as there is a general sense of unease felt whether in relation to the usage of ‘Money’, set to a steady indie funk groove, or the manner in which living in the present is panning out as illustrated by the gradual flickering into life of ‘O You’ puffing out a longing sigh with its line, “The 80s were better, I’ve no doubt”. With concerns regarding perceived ideas in relation to image (‘Perfect Skin’), or the loneliness considered at the centre of the ballad-esque ‘Under The Moon’, happiness is but a distant prospect for Peace. Despite such concerns, this four piece from the Midlands have a habit of communicating their thoughts by way of some infectious rhythms, via the guitar driven swagger of ‘Lost On Me’ and gusty momentum of the album’s title track to remind enough listeners that residency in the UK during the mid-nineties really was the place to be. With a deluxe version of ‘Happy People’ offering an incredible eight extra tracks and enough to fill another album, there really is much to consider when it comes to Peace and their second offering.

Released 10 March


Bruised Music Volume One


Grave Mistake Records/Toxic Pop Records

Busy rummaging through old memories from their vast catalogue of songs, Appleton, Wisconsin-based Tenement reappear with a collection of tracks under the heading ‘Bruised Music Volume One’. The decision to include a mixture of rare and out-of-print songs lifted from seven of the band’s earliest recordings including tapes, EPs and split singles was an inspired one as those less fortunate to experience this material during its first outing, now have a chance to familiarise themselves with Tenement’s early punk rock sound. With comparisons ranging from Husker Du to The Replacements in relation to the time period covered from 2006 to 2009, the rarities selected provides an insight into the band’s development and the various teething problems associated with this. However, far from being a ragbag collection of loose ends and unfinished demos, ‘Bruised Music Volume One’ is far more accomplished than perhaps one would think, considering the aforementioned early years’ time period. An example of this can be gained from the rough and tumble of ‘Sitcom Moms’, with its retrospective lyrics and scorching hot guitar break rendering this song good enough to grace anything Tenement currently has scheduled for later release.  Following on from this is the hard-edged pop tones of ‘Spaghetti Midwestern’ and ensuing ‘The Fire Is Out’, albeit with a coarser texture yet still containing a pop influence. Eclipsing its customary two minute mark is the initial thrash happy ‘Summer Streets Parts 1 & 2’, which eventually stretches its creative limbs and provides another indicator of the talent at the centre of this three piece. Casting our own vote, however, the rhythmically tight and seared vocals of ‘The Best and Worst of Times’ wins hands down, and probably due to providing a reminder of Boston unit Buffalo Tom, who had a knack of writing similar sounding songs on a frequent basis. This current collection might be a bruised reminder of a few memories best forgotten when it comes to Tenement, but for the rest of us on the outside looking in, ‘Bruised Music Volume One’ makes for a fascinating insight into the early foundations of one of America’s ongoing punk bands.

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Hit The Floor With..


El Toro

Formed in 1986 and hailing from Spain, Brioles is a trio comprising of brothers, Jorge and Daniel Nunes, and odd man out, Josep Maria. Considering the length of time this band has been performing, the comparisons associated with Brioles have been numerous, with the core of their music coming from 50s rock ‘n’ roll, but with definite strands of neo-rockabilly, psychobilly and topped off with a punk rock spirit. Brioles themselves seem to prefer the compromise of Briobilly, which makes itself known once the engine starts running and ‘So Mean’ clatters into life and rattles along at a frantic pace. ‘Yes, No’ provides the first inkling of a taste for punk rock, with its rough and ready approach suggesting a live take as far the recording goes. ‘Boppin’, however, finds Brioles in a reflective stance, with the isolated ‘bop’ of the character at the heart of this song doing his best to stave off the real feelings inside, “I do my best pretending that I don’t love you” with Brioles expertly capturing the mood with a mid-tempo beat. The clue is most definitely in the title regarding ‘Ready To Cha-Cha-Cha’ as it signals it’s ready for anything, especially once its brisk rhythm, partly wrapped around a repetitive guitar pattern, will have you firing on all cylinders in no time. The psychobilly tag looms large above the doorway of ‘Full Moon Spell’, as the song casts a shadow (in a good way!) over proceedings and offers another angle for Brioles to pursue because it’s definitely among the highlights here. With so much zest remaining in their creative tank, Brioles has every reason to stick around and maintain the bop because this is one floor worth hitting on.

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It’s A Scream!!!

Various Artists

El Toro

Arriving just in time before the next venture under the sun and on the sands of Calella, Spain is a compilation of dancefloor fillers personally handpicked from last year’s top DJs spinning the decks at the Screamin’ Festival. With eight DJs selecting three songs apiece, and a remit to provide a reason to shake those limbs, the songs chosen provide a breadth of rockin’ originals. There is no favouritism here as the choice cuts selected from each and every DJ is of the highest order but, unfortunately, there is simply not the time and space to detail each and every entry. The choice of rhythm and blues seems to slightly outweigh the straight rockabilly or rock ‘n’ roll songs and perhaps understandable when the inclusion of the unfortunately named Joseph ‘Mr Google Eyes’ August induces a bout of hip swinging with the rhythm and blues shake of ‘Rough & Rocky Road’, to the “interpret as you will” moniker of Bull Moose Jackson whose forceful rhythm and blues commands the upmost respect. Equally deserving of such recognition is the rhythm and blues rocker ‘If It’s News To You’ courtesy of Little Esther, which is nicely complemented by the compelling vocal delivery of Solomon Burke’s ‘Be Bop Grandma’ that starts off as a velvety tone and ends up almost a full-blown holler by its conclusion. The inclusion of ‘Hoots Mon’ by Lord Rockingham’s XI is a misfire and one that doesn’t rest easy with the rest of this compilation, but several remedies soon arrive in the shape of Ricky Nelson’s excellent rendition of the Baker Knight composition ‘I Wanna Be Loved’; the manic rock of Ralph Nielsen & The Chancellors’ ‘Scream’, and the primitive beats and humorous take of ‘Leopard Man’. ‘It’s A Scream!!! Original Soundtrack of The Screamin’ Festival’ houses enough rockin’ delights to keep your ears engaged and dance shoes moving until the next Screamin’ Festival arrives this year. What a wonderful addition this compilation is, and a great advert for a well-regarded music festival. Viva El Toro!

Released Out now


Rockabilly Girl

Manny Jr. And The Cyclones

El Toro

Upon first inspection of Manny Jr. And The Cyclones’ ‘Rockabilly Girl’, one item that stood out from the rest was the slightly unconventional vocal, which has a way of sounding a bit off the pace (‘Baby I Don’t Care’) but, after repeat listens, the realisation dawns that what may sound like slight imperfections at first, are actually genuine characteristics that Manny Jr himself brings to these songs. With the jury previously undecided as to the fate of this overall collection, this clever four-piece band from Canada conjure up some rockabilly magic that is brimming with character and bustling with energy. Nowhere is this best served than the opening song ‘Flathead Coupe’ with its overstated deep vocal set to a chuggin’ rhythm supplied by The Cyclones and then, much later, by the late-night ambience created by the slower tempo and naturally raw vocals of ‘Stripper Baby’. This album would not be complete without some wild rockin’, which comes via the album’s title track and other examples such as ‘I Got A Date With You’ and even tougher guitars and vocal of ‘Mean, Mean Baby’. Gene Vincent proves to be something of an inspiration for Manny Jr. And The Cyclones, identified from the band’s artwork and tripping down through songs such as ‘Tougher Than That’ as well as cropping up in various other segments. The musicianship of Manny Jr. And The Cyclones is exemplary throughout, with fine examples coming by way of two instrumentals – the strollin’ ‘Just My Kind of Girl’ and tight rhythm of ‘Mr Eddie’ (listen out for that incredible guitar break folks!). Patience was definitely a virtue when it came to ‘Rockabilly Girl’ because without a second fair hearing, the genius, intelligence and talent of this Canadian rockabilly band would have been a loss of great proportions.

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Wet Side Stories

Jaguar & The Savanas

El Toro

El Toro Records is really turning up the heat with latest release from Jaguar & The Savanas with its occasionally wild, but more often controlled ride of surf-inspired instrumentals. Coming equipped with the self-proclamation of ‘Dedicated to all obscure surf bands like us’, Jaguar & The Savanas is probably under the illusion that their music is restricted to a limited audience, which may have been the case prior to the official launch of ‘Wet Side Stories’, but no doubt the tide has turned in their favour with the eight tracks complied here because there is simply no resistance against the infectious rhythms on offer. By creating a certain amount of mystery regarding the band – the comic book imagery for starters, as well as adopting the title of a popular musical and renaming it with a suggestive and insalubrious substitute – is the stuff rock ‘n’ roll was designed for, and something Jaguar & The Savanas certainly make the most of during their brief stay via ‘Wet Side Stories’. The impact of ‘The Ride of May Gray’ is immediate with its tough and gritty rhythm coming by way of some Dick Dale inspired surf guitar, which happens to follow suit with the equally engrossing ‘Castaway’. There is a measured tempo to ‘After The Ray Storm’, appropriately setting the mood for this song as there appears to be a genuine amount of contemplation occurring before finding its answer via the strolling beat of ‘Gator Rescue’. Such variations in style and pace is the key to Jaguar & The Savanas longevity because as it stands, ‘Wet Side Stories’ is a wonderfully  executed series of instrumentals that fit their billing accurately by maintaining a sense of ambiguity and level of excitement that never outstay their welcome.

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The Old Bridge

Bluegrass Stuff

El Toro

Not just a staple of the American musical diet these days as bluegrass, and all of its associated traditions, appears to be increasing in popularity in various other countries. When it comes to Bluegrass Stuff, Italy is the location for the traditional bluegrass music making up their album, ‘The Old Bridge’.  Any suggestions of an unpremeditated meeting of the minds before laying down the tracks leading to the band’s album are likely to be unfounded considering the level of detail given to this long player, but that doesn’t stop ‘The Old Bridge’ from sounding as if it was freshly baked in the last hour or so, such is the general feeling of spontaneity generated here. Recorded and mixed by Bluegrass Stuff’s very own Massimo Gatti (mandolin/vocals) ‘The Old Bridge’ gets into its stride from the off with a succession of up-tempo numbers comprising of fiddle, banjo, upright bass, mandolin and acoustic guitar. Despite the lively introduction to ‘The Old Bridge’, the mood is somewhat downbeat with unrequited love surfacing on a few occasions with ‘Hurt And Feeling Sad’, ‘Leavin’ Me Behind’ and, in particular, the deep frustrations expressed during ‘Send Me Your Address From Heaven’  being the pick of a very good crop. With a considerable amount of the songs self-penned by band members Ruben Minuto, Matteo Ringressi and the previously mentioned Massimo Gatti and then balanced with a selection of standards, ‘The Old Bridge’ is really worth paying a visit and setting aside some time because you will not be disappointed with such pickin’ delights as ‘Once In A While’ or the yodelling vocalisations of ‘My Swiss Mountain Lullaby’ to realise that you’re in the company of some genuinely wonderful talent.

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