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.

Harking back to a 70s era when rock music was truly free, The Sitting Bull And The Bullshitters revive such memories via their debut album release ‘Still Undead’. First indication of such linkages to music’s past is the manner in which ‘Still Undead’ was recorded, by using methods including portable studios often in various locations out on the road when touring. More obvious signs, however, exist in the band’s actual sound consisting of mild, loose rock and rounded off with some mystical song titles that leave one thinking of numerous bands from that particular era. With the location of Finland housing the songs making up ‘Still Undead’, it’s America which provides the inspiration as The Sitting Bull And The Bullshitters create a number of songs full of catchy choruses or, alternatively, more drawn out tracks such as the ‘K-Town River Banks’ with its keyboard and guitar riffs towing this along admirably. Lead vocalist and founder, Markku Pihlaja, provides a slightly gruff edge to the songs and remains relatively calm throughout, without ever resorting to any form of histrionics in order to get the messages across. Such examples can be found with the social conscience that is ‘Cry For The Ocean’ where both band and singer go about their business in an unfussy manner yet the song still manages to seep under one’s skin with seemingly very little effort at all. This is one of the aspects that make ‘Still Undead’ an appealing album because the majority of its contents will catch you unaware due to a certain amount of subtleties that gradually reveal themselves. For example, the natural aspects of the vocal and engaging chorus of ‘Soulseeker’ or the travelling notion via its rhythm given to ‘Giants’, which bides its time before hitting its soaring chorus, are two such examples. Given time, The Sitting Bull And The Bullshitters can certainly carve out a name for themselves beyond their native Finland by transmitting ‘Still Undead’ to an America audience where it should find a welcoming home considering its affiliations with American 70’s rock.

Biding her time and taking the old-fashioned route to possible future glories is Norwegian singer-songwriter Frøder. The less is more paradigm certainly works here as Frøder is steadily building her way to recognition in her own country by a succession of single releases with ‘Keep Forever’ being the latest addition. By adopting this patient approach seems to be working as the Bergen-based artist has received substantial airplay for previous singles – ‘Speed of Sound’ and ‘Over The Sea’ – and recently Spotify selected Frøder as a name to watch in 2015 via their ‘Spotlight Artists’ category. The patient approach and gradual progression in terms of her work can definitely be heard in latest single ‘Keep Forever’, as it is by far Frøder’s most memorable effort for its effective use of keys that joyously tingle under the skin and then hold back to allow the vocal to express itself. If Frøder continues such an approach to her song writing, then the full-length album should be something truly worth waiting for when that time duly arrives.

Despite earning a living as an architect, the name Kjell Reianes is associated with music in his native Norway due to a long-held ambition to break into an otherwise competitive market. The breakthrough arrived in 2011, at the ripe old age of sixty-one, with the appropriately titled ‘Aldri For Seint’ (‘Never Too Late’). Significant to this breakthrough was the start of a working relationship with Kaizers Orchestra’s Janove Ottesen, who was responsible for arranging and producing Reianes’ debut offering. Sixty solo gigs later, and various collaborations with numerous artists, Kjell Reianes made the transition from tinkering away with his musical compositions in his spare time, to a full-time commitment, which has resulted in a second album, ‘Ringer I Vatn’. The aforementioned working partnership with Janove Ottesen was reignited for this second outing, with Ottesen taking up production duties once more, in addition to a select few musicians – Ola Kvernberg, Mads Falck Berven, Jarle Vespestad and Eirik Are Oanes Anderssen – being added to the ranks in order to fully realise the ideas behind ‘Ringer I Vatn’. First impressions is that such qualified experience really lends itself to Kjell Reianes latest release, with opening number ‘Lukk Opp Ditt Øye’ sounding as if it was recorded in one take, where instruments are still in the process of warming up before eventually proceeding ahead. There is a pared-back sound to the majority of this latest work, with mainly acoustic instrumentation providing the rhythms to Reianes reflective lyrics where songs such as ‘Bare Ein Gang Te’ and ‘Evig Din’ would not be out of place on a busy side street populated with cafés  somewhere in Paris. Keys are added to the duo of ‘Virvelvind’ and ‘Bossanova’,   which gives the former song a slightly quirky feel whereas the latter is light and breezy. Reianes engaging dialect really captures the sentiment at the heart of ‘Du E Min Eine’ to great effect, and is but one reason why the breakthrough eventually had to happen for this wonderful talent.

Freedom over expression is definitely the way forward and something Jezus Factory continue to provide with the latest project from Craig Ward & Radboud Mens’ ‘The Drive To Taxonomy’. Seemingly unable to switch off the creative thoughts accumulating in his mind, Craig Ward, who is known for his work with a diverse bunch of musical outfits including dEUS, Kiss My Jazz, The Frames, A Clean Kitchen Is A Happy Kitchen and, more recently, a collaboration with Mark Mulholland, wheels out his latest release on a previously thought extinct format (i.e. cassette) as a limited edition, and with no real press release other than a discussion involving what constitutes as a ‘real’ record label these days. Driven by practicalities regarding the decision involving a cassette release, as well as moving away from the standard CD format for this particular occasion, ‘The Drive To Taxonomy’ consists of two sides of experimental, ambient, electronic music.  The pulse is barely audible once the first side of ‘Parts 1, 2 & 3’ gets underway, with shards of light becoming visible gradually, and then made more prominent by bouts of droning and stabs of electronica that eventually breaks off into smaller pockets of sounds that bleep and whirr incessantly before finding their way to the surface. Side two is a coarser terrain, with electronic sounds jarring and fizzing, but most notable is the fullness given to the overall sound where segments are plumper in their expressions and the volume is given a boost, yet ever so sparingly. As with most instrumental efforts, individual interpretations will vary greatly such are its qualities to drum up different feelings with each and every listen. Therefore, ‘The Drive To Taxonomy’ is no different from such interpretations because its qualities are endless due to the many different levels this album inhabits.

Fourth album in for Rob Ryan and his Roadshow that shows no signs of letting up, such is the heady mix of rockabilly, rock ‘n’ roll, hillbilly and country sounds which explains the majority of this latest album’s contents, but it should also be noted that there are one or two deviations from this formula. The first indication that other influences are at work here can be heard from the album’s introduction ‘Stay In Bed’, as it snuggles up close to a rhythm and blues sound with Rob Ryan’s vocal sounding light and soulful. The next surprise comes in the form of a cover song, and one that is not selected from the customary vault of 1950’s goodness because this one is taken from a more recent decade with The Eurhythmics ‘Missionary Man’. Despite not being a fan of the original composition, the translation of this Eurythmics hit is a far grittier version, complete with impassioned vocal and side support coming by way of harmonica that manages to receive the unanimous thumbs up. The ‘Goin’ Old School’ of its title really makes itself known with the mid-tempo country ‘Long Gone Day’, then applying its foot on the gas for the rockabilly infused ‘Catwalk Baby’ with Rob Ryan’s vocal impressing throughout. There is time for reflection once ‘When I Found You’ makes its entrance, with its nimble rhythm implying the joy felt as this is one song with a happy ending after years in the doldrums. Further jovialities ensue once the Jerry Lee Lewis inspired wildness of ‘Monkey Beat City’ clambers over the entire contents of this album, letting its presence known via some white-hot rock ‘n’ roll, only to be given a run for its money by way of ‘Not Good Enough’. If only all roadshows were as compelling as the one Rob Ryan is promoting because ‘Goin’ Old School’ is a lesson in how to achieve a finely tuned balance between a choice selection of genres and making it work as a cohesive whole.