Looks can be deceiving when it comes to ‘Agent Cooper’, the new album from the enigmatically named Russian Red. Behind the exterior lies real name Lourdes Hernández who is one of Spain’s biggest names with an indie rock influence mixed with a deep knowledge of pop music; just don’t expect anything bordering on the mainstream, as suggested by the front cover, because, as mentioned earlier, looks can be… In fact, the whole album is caked in mystery from the cryptic album title to the “look twice in order to see it” ingenious song titles, which could be a reference to a number of past relationships set in chronological order to give the narratives a sense of history to the point of meeting their sell by dates. Musically, the songs are given the same quality control, despite being a touch more immediate than their song titles suggests. The glorious sweeping chorus of opener ‘Michael P’ intoxicates the senses and leaves a lump in the throat with its protestations, “I get so lonely when you’re gone”. Even better, however, is the 80s tinged ‘John Michael’ with its fusion of guitars and keyboards that brings to mind the solid album efforts the likes of The Psychedelic Furs used to include in their works. ‘Casper’ is directed by some fine guitar work that takes a moment to breathe once Russian Red applies the brakes with sumptuous vocals to offer serious reflection on, no doubt, a relationship that turned sour. Triumphing over all, however, is the early minimalist beats and fragile vocal of ‘Xabier’ that almost lasts the distance before crumbling under the weight of its own revelations to the backdrop of guitars set to shoegaze. Russian Red has delivered the package ‘Agent Cooper’ which, if you choose to accept, can be found under the code word: SUBLIME.

The Scheen’s debut album finally gets to see daylight after last year’s single release ‘I Am I’. Possessing a front figure that is well known for last year’s participation in NRK’s Stjernekamp, now last year’s chip paper, as The Scheen is an altogether different proposition with its roots firmly set in an indie rock sound. Despite having an ace in their pack when it comes to vocal duties in the form of Atle Pettersen, it would be a great disservice to suggest that The Scheen is anything other than a promotional vehicle to aid Pettersen’s progression as The Scheen is a properly assembled outfit comprising of Tobias Ørnes Andersen, Robin Ognedal, Rein Blomquist and Nickolas Main Henriksen who have been together for some considerable time and, in the process, built up a wealth of experience on the live circuit. With such a longstanding relationship between this five-piece band from Skien (Norway), it is little wonder that first album offering ‘The Scheen’ sounds anything other than accomplished. The impressive opening strum of bass and guitars coupled with Atle’s compelling vocal pulls the listener in from the off with lyrics suggesting an off-kilter relationship with the daily grind of everyday living. If that wasn’t enough, then the pounding beat and fitful sounding guitars holding together ‘I Am I’ really excels with its gritty edge and interspersions of electronica. Despite its glum title, ‘Nothing To Win’ opens the door to a pop influence with an irresistible chorus that reeks of next single contender, which could easily be bestowed to its near neighbour with the sweeping melodic indie rock of ‘The Race’. For the moment, current single ‘Run’ is given that honour and is every bit powerful in its delivery as it is anxious with a concluding tempo giving the impression of chasing down endless empty avenues. The Scheen’s qualities lie in their ability to provide a balanced album that is one moment full of intricacies (‘Sleep In Silence’), revealing the band’s hidden depths, and the other more immediate with the uplifting feel of ‘Ghost’ being a prime example. As far as debut albums go, The Scheen just got off to a very good start.

Released on Tessy Records via the prolific Rhythm Bomb label in Germany, Nelson Carrera issues a warning that ‘Love Is A Trap’. Largely consisting of original material, Carrera, who grew up in Angola before later settling in Portugal and finding himself in fine company with other likeminded artists such as Carl & the Rhythm All Stars and Ruby Ann, issues this latest album under his own moniker, but not without help from an assortment of supporting musicians. The title song will be a source of contention for many but the song itself is reminiscent of a late-fifties era beginning to sway towards a lighter pop market with the harsher elements of rock ‘n’ roll being toned down. Nothing wrong with that of course, but if you’re looking for something with a bit more bite then the serious guitar of ‘Cold Heart’ and rockin’ rhythm of ‘But She’s Not You’ are but two examples to help soothe those rockin’ hearts. The issue of relationships continues to be a thorn in the side of Carrera with the cover of Hank Williams ‘I’ll Be A Batchelor Till I Die’ before raising a holler with a little Jerry Lee Lewis inspired ‘Who’s Gonna Love Me Now’ that really puts a spark in the system, only to be usurped by an outstanding rendition of Buck Owens ‘Crying Time’ which, for our money, takes home the prize. If love really is nothing but a devious shroud, then, in the hands of Nelson Carrera, it really isn’t so bad after all as the lure of ‘Love Is A Trap’ reveals.

In honour of their festival appearances this year, The Doel Brothers have conjured up a 45 vinyl single consisting of ‘Scream & Bop / I Left My Wife In Vegas’. Such was the impact of the former song, that El Toro Record’s head honcho, Carlos Diaz, bestowed the honour of official song for this year’s Screamin’ Festival held in Spain; meaning that ‘Scream & Bop’ is likely to be remembered for years to come such is the status of this legendary music festival. Promotional tools aside, ‘Scream & Bop’ stands on its own feet with its jittery rhythm, fine guitar break and delightfully raspy vocal curl, “Doooowwwnnn on the beach at the Screamin’ Bop” supplied by brother Gordon and giving the game away that rockabilly is present in their repertoire when the mood feels right. The flipside, ‘I Left My Wife In Vegas’ flexes the Western Swing muscle of The Doel Bothers and offers another reason why this four piece is highly sought after, such is their flexibility but also their dexterity when managing other genres as ‘I Left My Wife In Vegas’ sounds effortless. Equally appealing, however, is the band’s sense of humour as the hapless victim(s), depending on which way you perceive it, is waking up with one dreadful hangover when the dust settles after this Vegas vacation. All things considered, ‘Scream & Bop / I Left My Wife In Vegas’ is the perfect accompaniment to any rockin’ festival this year, but as a 45 single in its own right, The Doel Brothers have just weaved the magic once again.

There is an air of change at Rhythm Bomb Records as one or two recent releases display a variation in sound to accompany the rockabilly the label is normally renowned for. That is not to suggest that there has been a complete overhaul in the sound department, as the variations in styles remain subtle at the very least. Ricky Fabian, however, is one of those artists who, with his ‘Big Bang Boogie’, opens the doors to numerous influences whether the near big band feel of the title track or western swing of ‘Never Trust A Girl’, there appears nothing this emerging cool cat cannot do. With the recording having taken place at Lightning Recording Service in Germany, it is remarkable to think that the level of consistency and creativity of ‘Big Bang Boogie’ is a little shy of thirty minutes due to the amount of songs on offer here. The straight rockabilly of ‘When You Break A Heart’ and affection for Sonny West’s ‘Sweet Rockin’ Baby’ during ‘Rockin’ With My Baby’, not to mention the wonderful balladry of ‘Searchin’, bringing to mind Eddie Cochran when in this mood, are yet more examples why the name Ricky Fabian is likely to be heralded as the next big thing come the rockin’ weekenders during the summer months. There is just one thing Ricky Fabian needs to address, however, and that is to record a second helping of ‘Never Trust A Girl’ with the male species as the bane of the troubles next time if we’re going to restore an even footing in the equality stakes.

Second album in for the cross-cultural four-piece that is Marc & the Wild Ones after their impressive debut ‘The Rockin’ Beat Of…’ issued a few years back. The difference between first base and second base is immediate, however, as there is a maturing in sound, which is commendable as their venomous edge remains intact but there is a noticeable difference from the get-go with the restrained qualities of opening duo ‘Be Boppin Baby’ and ‘Can’t Stop Loving You’ that benefits their overall sound immensely. Even Marc Valentine’s vocal is reined in slightly, giving the impression that patience is sometimes a virtue as he sounds in commanding form and giving a bourbon soaked edge to ‘I Love My Baby’. There’s a tinge of blues to the on the road ambience of ‘Please Don’t Go’ that is borderline expansive in terms of its vision as the Wild Ones teeter on the edge of fresh territory in the creativity department. Elsewhere, ‘Boppin Little Kangaroo’ is as playful as its name suggests only to be given a short life by the rabblerousing ‘Real Rockin Baby’ with its Johnny Burnette & the Rock ‘n’ Roll Trio undertones. ‘She Put A Spell On Me’ is clearly seduced during the dark current trawling through ‘Little Ann’, with further experimentation by means of sax this time as it purrs down the shirt collar of the smitten individual. If Marc & the Wild Ones can carry such form into their next venture without forgetting to dip their toes in the creative pool, and lose a little formulaic baggage along the way (‘Honey Bun’), then album number three promises to be an even greater step in their evolution.