With a UK tour underway, Danny & The Champions of the World have every reason to feel a sense of gratification regarding the critical appraisal currently bestowed upon them for latest effort ‘Stay True’. A measure of self-satisfaction is more than granted when listening to the warm, country-tinged ‘(Never Stop Building) That Old Space Rocket’ as frontman Danny George Wilson recollects fragments of memories of family relations and a jukebox crammed with 50s nostalgia. ‘Cold Cold War’ is played out accordingly with its subdued country feel and downbeat soulful vocal striving to hold together a failing relationship. Similar ground can be found with ‘Stop Thief!’ that somehow manages to wade through the tears to deliver a vocal of the highest order with shades of early Springsteen. Radiating a warm musical ambience yet teetering on the edge lyrically, ‘Stay True’ is an honest and raw document of a band clearly at ease with itself and entering the form of its life.

Surprisingly, ‘Feels Like Home’ is Sheryl Crow’s first country album as there are shades of country aligned with her more rock roots dating back to first album ‘Tuesday Night Music Club’. That said, ‘Feels Like Home’ is definitely a straight country-rock record that is more at home at the commercial end of the market than the scuffed edges of the Americana scene. ‘Shotgun’ is one such example, full of swagger and immediate hooks coupled with some lovely mandolin rising above the country-rock strings. ‘Easy’ has Sheryl Crow written all the way through its centre with its catchy chorus, and this time relying a bit more on her pop influences, but it remains a song that could have graced much of her previous works. There is a lovely sweeping quality about ‘Give It To Me’, due to various orchestral strings residing in the background, which is in stark contrast to the quirky edges of ‘We Oughta Be Drinkin’, “But some nights are made for staying at home, roll a big fat one and watch Nashville alone” which is apt considering the majority of ‘Feels Like Home’ could soundtrack said TV show. But with the cynicism of ‘Crazy Ain’t Original These Days’, deeply melancholic ‘Homesick’ that really tugs at the heartstrings and proceeded with more quality ‘Homecoming Queen’ and jagged barbs of the fully aware ‘Best Of Times’, ‘Feels Like Home’ contains a few more hidden depths than its immediate polish suggests.

Back in 2002, ‘…that Great October Sound’ was the first introduction to a man and his music that suggested a hermitic existence deep in the pine forests of Norway with a fragile and unconventional vocal being his only defence. Fast forward to the present, and the darker shades of green have been exchanged for the golden beaches of LA in an attempt to break, or at least get a foothold in the increasingly difficult American music market. ‘What’s Left Is Forever’ is Thomas Dybdahl’s latest album, and it has definitely been worth the wait. Relinquishing control over production duties and introducing legendary producer Larry Klein (Joni Mitchell fame) was a masterstroke as ‘What’s Left Is Forever’ is the sound of an artist being able to concentrate on the songs, which in turn has allowed for a considerable looseness and variation to the album as a whole. ‘Running On Fumes’ is one such example with its initial sparse beats that eventually gather increasing splashes of sound before concluding in brief applause. ‘Shine’ gives the impression of classic Dybdahl with delicate vocals accompanied by the barest of instrumentation until an electric guitar forces its entrance in a bullish manner shaking the song to life and bringing fresh vigour to his voice. The ethereal qualities of ‘Easy Tiger’ reflects the desires to explore other avenues, even if that requires a measure of patience, whereas the sweeping pop of ‘Man On A Wire’ reveals Dybdahl not only at his best but also suggests there is much creativity left to come.

After the mixed critical reaction that was ‘Euphoric /// Heartbreak \\\, Glasvegas return with third album ‘Later…When The TV Turns To Static’. There is a real sense of getting back to basics here, as Glasvegas swap the LA landscape of their previous recording for a return to their home roots of Glasgow. With frontman James Allan taking the helm on production duties as well, the outside world is definitely locked out for the moment. Opening song, and title track, ‘Later…When The TV Turns To Static’ appears to reflect the aforementioned difference of opinion regarding Glasvegas’  second effort, as James Allan sounds like a man with his tail between his legs reflecting on what might have been, only to reopen such sores during the fragile ‘Choices’. ‘All I Want Is My Baby’ is in part a stinging response to the financial greed of certain industries (take your pick) and a further realisation that the grass isn’t always greener. It remains, however, the unconventional manner in which James Allan transmits these narratives in his almost slurred Glaswegian burr that sometimes lends itself to spoken word passages – the affecting ‘I’d Rather Be Dead (Than Be With You)’ – that captures the imagination before noting the difficult job the rest of Glasvegas have to contend with in terms of shaping their melodies to fit such awkward yarns. There was never an issue of a comeback album as ‘Later…When The TV Turns To Static’ is merely a continuation of the creative success of their two previous bodies of work. Welcome back Glasvegas.

Hot on the heels of their deserved critical success for debut album ‘An Autobiography’, Old Gray decide to revisit a former release that sold-out on its first pressing due to heavy demand. ‘Everything I Let Go And The Things I Refuse To’ will see light of day once more through Dog Knights Productions. All four tracks making up this EP provides clear indications of the work that proceeded with the band’s full-length album as there are nods to Explosions In The Sky with delicate guitars ‘359 Pine’ and ‘Resonance’; the latter of which builds to a crescendo and aided by impassioned vocals as Old Gray let out their hearts the only way they know how to. Honest and worthy of your attention.

Opening in fine fashion with a buzz saw slide guitar that teeters on the edge during Marcus Thompson’s declaration, “That girl never gets what she wants” sounding equally frustrated for the protagonist’s lustful desires, London four-piece Burning Condors debut full-length album ‘Round Our Way’ continues in a similar vein as songs grapple with issues of boredom and despair associated with modern-day living. ‘Killing Time’ is the perfect execution of such frustrations as opportunities fall through the cracks and one is ‘left out in the cold’ greatly emphasised with a midpoint blues- injected guitar before turning in on itself for one final howl of desperation. Title track, ‘Round Our Way’ continues to pick away at the mundanities of modern living with some gritty guitar work before falling for the girl next door of ‘Polka Dot Girl’ and revealing the band’s penchant for punk rock. Elsewhere, ‘Love On The Rocks’ is absolutely drunk on lust while the raw blues of ‘Honey Trap’ offers a respite from the frantic indie guitar rock and instead allowing the harmonica to power this account of a complex and doomed relationship with the clue being in the opening line. It is left to ‘Twisted Kind Of Bliss’ to really emphasise the Burning Condors collectively impacted frustrations as the collapsing noise of guitars and trailing feedback during its conclusion suggest. There is no better time for Burning Condors to make their mark on an unsuspecting music world because it has been some time since bands of similar ilk have reared their heads and created the kind of wild indie rock blues of ‘Round Our Way’.