Two years have elapsed since The Northern Lies critically acclaimed debut album ‘Midnight Medicine’ was released. During their absence, the band has evolved into a five piece which, along with original members Henry Johnsen and Håvard Stangnes, now consists of Ida Karoline Nordgård (bass/vocals), Erik Nilsson (keys) and Mikael Pedersen (drums/vocals). With the revised line-up in place, The Northern Lies set the task of writing and recording that ‘difficult’ second album. What transpires since that two-year layoff is ‘White Desert Blues’, which reveals a succession of songs that delve even deeper than its predecessor in an attempt to get to the bottom of the sadness that is causing so many restless nights. With various trials and tribulations providing the fuel for the lyrics, it is the natural elements and scenic landscapes of rugged mountainous ranges of the northern hemisphere, Tromsø (Norway) to be exact, combined with The Northern Lies authentic Americana sound that adds to expressions of loneliness and isolation felt during ‘White Desert Blues’. Evidence of such emotions and cold-isolated conditions can be ascertained from the album’s title track that is nostalgic just as it is confused and lost, which also stumbles accordingly in to the following ‘Wrong Turn’. If the sounds of Neil Young and Crazy Horse greatly appeal, and a vocal that is close to Townes Van Zandt on occasions (‘Too Damn Quiet’), then you have come to the right place as far as The Northern Lies is concerned. Just remember, however, where this band resides because it is a sound that they do well and will leave you yearning for more once the likes of ‘Love’s Lonely Rover’ and ‘Cold-Hearted Town’ touch your heart. It looks like Americana has firmly planted its roots in a far corner north of Norway where the ‘White Desert Blues’ exist and can be heard via The Northern Lies.

The name Dylan Mondegreen will be familiar to those who remember his album ‘While I Walk You Home’ (2007) that was full of melodic soulful pop, and brought comparisons with Josh Rouse and Prefab Sprout. In 2016, Dylan Mondegreen is ready with a brand new album by the name of ‘Every Little Step’. This latest creative excursion is Mondegreen’s fourth long player, and marks a change in tactics when it came to recording as he decided to record the album in a short timeframe with as little help from any studio technology. The end result was ten songs recorded live at Rune Berg’s studio outside of Oslo with additional accompaniment via Olaf Olsen (drums), Bjørn Holm (bass) and further contributions via Maria Due and Geir Sundstøl. By adopting a more simplistic approach to the recording methods of ‘Every Little Step’, Mondegreen has described it as his “punk album”. The change in working methods also sees the inclusion of two songs performed in his local dialect as a means to answer any curiosities Mondegreen was feeling at the time with ‘Mens I Føl De Hæm’ and ‘Slepp Taket’. With the rest of the album being open to a wider audience, Mondegreen sets out his personal insights to a largely indie pop acoustic beat that reflects coming-of-age tales (‘For The Innocent And Young’) and the precarious nature of life as a musician and attempting to survive the music industry (‘Nothing Lasts Forever’). It remains, however, the breezy acoustic simplicity of the song ‘Every Little Step’ that has hints of Roddy Frame in terms of its delivery, and touches a nerve with its honest lyrics that stands out above the crowd here. The decision to create a “punk album” was a wise one by Dylan Mondegreen because, despite offering a personal insight of his own world, the themes brought to light will resonate with many, and likely see this album being played in years to come.

A new album from composer, beat maker and producer Phi Bui makes its way on to the Eilean roster by the name of ‘Unnoticed Moments’. From his base in San Francisco, CA, Phi Bui has created an intricate web of sounds by capturing numerous pops and clicks that can be heard from everyday living, to the cutting and pasting of snippets of music taken from styles ranging from jazz, hip-hop and classical music for example. The results are impressive with, in particular, ‘Helping’ successfully combining a jazz rhythm with cut up beats lifted from a modern sounding era, and one that rubs coarsely against the smoother textures of the aforementioned jazz instrumentation. A demonstration of further influences arrives via the operatic vocals and looped beats of ‘Doubt’, which aptly expresses its title. There are ethereal qualities attached to the likes of ‘Birth’ which nags with its constant static interference, to the clearer yet still fragile  ‘A Klee’. There is greater range here in relation to some of Phi Bui’s contemporaries as the oriental twist of ‘Une Femme’ throws a curveball with its broad strokes of sound thrown sharply across its canvass, only to be interrupted by the banging and clashing of metal objects at various intervals. It is in those ‘Unnoticed Moments’ that seemingly much is going on, which is expertly brought to our attention via Phi Bui’s latest creation. Top marks indeed.

Apparently known for her blue eyes and Australian passport, there is far more to Coral Lee Farrow once the contents of her sophomore album infiltrates your senses and works its way deep inside your soul. For this is an album full of musical promise with its various temptations and influences ranging from rockabilly to swing to country to tempt your musical senses. The laidback intro of ‘All I Can Do Is Sing’ is the perfect start to this album, in fact any album, as Coral Lee Farrow consigns a relationship to its past where the lyrics talk of its history, just as much as the instruments play their part in relaying this particular story. Elsewhere, ‘Big Wide World’ chugs out a mild rockabilly beat with some fine guitar and steel guitar making their marks on this song. The open heart confessions of ‘My Sweet Baby’ reveal a song with nothing to hide, and it’s a delight to hear with the vocals raw and passionate and the song’s rhythm chipper in its expression. Later on you will hear songs about the blues, complete with handclaps (‘Black Cat Blues’), and joyous occasions that involve ‘Boppin’ On The Moon’, and probably a first in terms of naming a song ‘Rodney’, which sounds far more glamourous than its name suggests with its details regarding “waiting for the train to Sydney…”. ‘The Weather Vane’ is a record that remains loyal to the various genres incorporated in its sound, but it is one that brings a freshness to its lyrical themes, and that is to be applauded.

Surfing the waves for another outing is the Surfin Gorillas and their current album ‘Aloha’. What the listener gets is a track list of largely rip-roaring surfin’ instrumentals consisting of original compositions and covers. The difference here is that ‘Aloha’ introduces vocals on a few of the tracks, and in the process reveals another dimension to the band. Kicking things off is the excellent Dick Dale inspired ‘Riptide Surfer’, with the Surfin’ Gorillas very own guitarist Andy Wren being responsible for this particular track. From there on, the tracks range from the well-known ‘Move It Baby’, to the energised version of Curtis Knight & the Squires (featuring Jimi Hendrix) ‘Hornet’s Nest’. The song writing skills of Andy Wren pop up again for the lively and infectious ‘Beach Party’, before more original compositions crop up via drummer Gary Griffin with the speedy rhythm of ‘Surfin’ Crazy’ and title track, ‘Aloha’, that is particularly memorable for some fine sax via Clive Osborne. Totalling fifteen tracks, there is plenty of old school surfin’ sounds to take in and enjoy because there is far more on the up here than on the down.

For those in the know, The Hypothesis formed during a severely cold winter in Kouvola, Finland, which seems to provide a reminder for the band in terms of the manner in which they roll out the contents of their debut album. Whilst nothing can be described as light in tone here, considering the level of heavy crunching riffs and pummelling drum sounds, The Hypothesis allow for additional ideas to creep in to their overall sound with numerous melodic touches added to their grooves. Evidence of these ideas can be heard from their new album, ‘Origin’, that was given the upmost care and attention to detail during a recording stint in 2012 deep in the heart of the Viitasaari countryside as the band laid out their nine tracks. Former single ‘Eye For Eye’ is one that stands out for its flittering electronic intro before launching headfirst into a full-on assault of guitars, drums and roaring yet gruff vocals of Antti Seppälä. From such songs, The Hypothesis show their range by combining heavy textures with more melodic moments and a greater willingness to experiment with songs such as ‘Weak Story’ and ‘Atonement’. There is no doubting the dexterity of their musicianship as The Hypothesis often deliver an uncompromising sound but one that reveals extreme levels of detail that should see this five-piece unit garnering a whole host of new supporters once ‘Origin’ makes its entrance to a wider market.