Fresh off the mark with a debut single is Frøder with ‘Speed Of Sound’ that is currently doing the rounds on NRK’s P3 (Norwegian radio station) and not difficult to understand why such is the immediate appeal of the vocal delivery. Comparisons can be drawn with Florence + The Machine, especially considering the heavy use of electronica intspersed with strings that is at one moment pondering in its approach before rising to considerable heights during its chorus. On the evidence of this first offering from Frøder, there is no question of this Norwegian loitering in the wings any longer as ‘Speed Of Sound’ looks set to continue its rapid trajectory even before there is any mention of a full length player. A very impressive start indeed.

The music of Robert Ellis resides in two camps when hearing latest album on New West Records ‘The Lights From The Chemical Plant’, and that is one that lovingly embraces the past in terms of country music, and the other is one that resides in the present by means of various modern methodologies providing it with an up-to-date edge. Working like a well-oiled machine but without the added gloss due to enough frayed corners, Robert Ellis proceeds with ‘TV Song’ that is full of fancy in its efforts to escape from the tedium of the everyday as it plays out to an atmospheric soundtrack. If ‘TV Song’ offered some hope in terms of its wishful thinking, then proceeding track ‘Chemical Plant’ is more grounded in its narrative as it traces the phases of a relationship and the differences this brings. Once more there is great technique in the instrumentation as guitars and various strings are gently caressed providing more of the same atmospherics that compliments the reflective tone of Ellis’ vocal. There is not much in the way of happiness to be found in the piano-driven ‘Bottle Of Wine’ as it hints at loneliness, only to be confirmed by the alt-country ‘Still Crazy After All These Years’ that sounds as if it’s playing to an empty barroom. Nearing its end, ‘Houston’ sheds the last teardrop with intimate lyrics depicting the end of a relationship with both home and heart as there really is nothing left apart from ‘The Lights From The Chemical Plant’ for company.

The wait for an echo has been a lengthy one until now that is, as Grahame Skinner finally makes his long anticipated comeback under new moniker, The Skinner Group. The title of the new album is one that is definitely open for interpretation, having interviewed Grahame Skinner for these very pages, suggesting a mixture of relief at the realisation of new material finally seeing light of day but coupled with anxiety at the thought of the unknown in terms of its perception. Fear not as ‘Back On The Horse’ is a sheer delight from beginning to end with creativity in abundance and enough memorable hooks to warrant a high level of repeat visits. Previous single ‘Surfer Gurl’ revives old memories of Skinner’s former indie outfit Cowboy Mouth, as the song resembles a piece of driftwood from an aborted third album, only given a new lease of life here, with Skinner crooning in fine fashion and pining about the one who got away to a grungy backbeat provided by longstanding stalwarts Douglas MacIntyre and Mick Slaven. ‘Oh Dear ‘ is breezy in comparison, and closer to another former band that hit the heights during the 80s, and would be the ideal candidate for second single such is its infectious rhythm and clever touch with its knowing self-pitying lyrics. The ghost of Hipsway is even more evident during the immediacy of ‘Down On My Knees’ with its 80s style chorus complete with backing singers really giving the game away. In the midst of such familiarities exists new explorations with ‘Something Cinematic’ a prime candidate due to being something of an oddity with its pondering beat, poetic vocal and topped off compellingly by Mick Slaven’s guitar, which is left to its own devices as it scores a red-hot trail right through its centre in a stinging and bad tempered moment of improvised greatness. Elsewhere, ‘Who’s That Man’ could be a personal ode as it reflects on being out of touch with current trends via a warped take – wonderfully executed – on The Beach Boys surf pop before falling headlong into the abyss that is ‘Hole In My Soul’, but not before paying reference to Aidan Moffat on the way down during the song’s fadeout. If this is the sound of Grahame Skinner in the modern state of things, then the decision to get back on the horse was an inspired and extremely wise one.

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.