Reviving a musical passage confined to the history books by dragging it into the present, This Sect possess an undisputable post-punk and indie influence with a definite whiff of the eighties when it comes to their sound, but one that is given a slightly modern edge considering the grooving rhythm of former single ‘Bookburner’. The giveaway, however, to such references can be heard in the shimmering and echoing effects of the guitars that is reminiscent of such 80s innovators The Chameleons and Bauhaus, as well as paying their respects to such record labels as Dischord with the aforementioned post-punk sound. With this being a debut album and one that has taken considerable time to fully realise, the benefits of such a lengthy gestation period are revealed in the tight musicianship which creates moments of genuine tension as well as providing a sense of holding the ship together. For lead vocalist Gøran Karlsvik, the title of This Sect’s debut long player seems to literally plague his very being, with his vocal giving the impression of pulling the songs along but with considerable suffering involved due to the immense weight of the lyrical contents contained within. Such indications can be identified from the layered guitars and melodic bursts of ‘Lines On A Trail’ where there appears no exit from troubled times, to the (some might say) actions of a philistine with the tortured ‘Bookburner’ and major clue that is ‘Detox The Soul’. As brief as ‘Shake The Curse’ stands, This Sect manage to cram a succession of deeply intense emotions that are often cryptic in nature, with an equally forceful brew of raucous guitars and additional synth that harks back to a period in music that is sadly missed and thus rendering ‘Shake The Curse’ utterly essential.

Upping the ante further with album number three by adding the production skills of British producer Eliot James (Two Door Cinema Club, The Futureheads, Kaiser Chiefs) and enrolling fellow Brit Simon Walker to help out with lyrics, Montée is willing to take chances in order to broaden their sound but also their appeal when it comes to reaching new audiences. The results appear to be a winning success judging from the fuller sounding and more consistent quality of the songs making up ‘Into The Fray’. The eighties influence blended with modern pop-disco tendencies remain and clearly evident from the off with ‘Saviour’ that receives extra plaudits for its decision to include backing vocals that take this ditty to another level. ‘Icarus’ has a sense of familiarity about it, which is a compliment, with its gliding rhythm that almost suggests a smoky jazz texture when really it’s a reflective synth number that has lead vocalist Anders Tjore sounding rather like Bowie on occasions with a desire to remain detached from society, and it really is that good. The infectious melodies continue their charge with ‘Animal Traits’ and ‘The Beast In Their Nature’, before ‘Picture Paradise’ offers a different perspective with its colder rhythm and more measured pace. For fans of Human League, Heaven 17 and more recently Van She and Empire of the Sun, ‘Into The Fray’ should see Montée victorious judging by the overall quality and consistency of their latest album.

Pulling a draw faster than Billy the Kid himself, Kentucky-raised Sturgill Simpson, who now happens to be a resident of Nashville, makes a swift return with second album ‘Metamodern Sounds In Country Music’. Where debut offering ‘High Top Mountain’ excelled in tailing a steady line to the traditions of country music, as well as offering heartfelt emotions regarding family members or various frustrations concerning life’s career choices or lack of them, ‘Metamodern Sounds In Country Music’ pursues more or less the same path, only the emotions expressed are those scraping the bottommost depths of despair. With songs alluding to such periods of hopelessness, often the result of experimenting with life’s darker side as well as suffering from depression (‘Life of Sin’, ‘Voices’, ‘Long White Line’), there are also moments of hope with ‘A Little Light Within’. However, far from being a miserable experience, ‘Metamodern Sounds In Country Music’ is nothing but an enthralling ride of traditional country, with some nice touches of additional strings during lead track ‘Turtles All The Way Down’, but also one that benefits from a rawer edge in the guitar department and best experienced from ‘Life of Sin’ and ‘Living The Dream’. The wildness truly reveals itself, however, when the appropriately named ‘It Ain’t All Flowers’ sets its reverse course with guitars sucked through a vortex amidst fevered howls as the comedown digs its claws in. The nostalgic trip down memory lane of ‘Pan Bowl’ is the perfect conclusion, considering all that has gone before, and further reason why ‘Metamodern Sounds In Country Music’ is an extremely important record not only due to its inventive side, but for its honesty when chronicling life’s mistakes.

Latest album from singer-songwriter Ray LaMontagne sees a departure from his more straight folk roots sound as ‘Supernova’ lends itself to the psychedelic pop and country-rock sounds prominent during a late 60s and early 70s San Francisco. Producer Dan Auerbach (Black Keys) services were called upon to help with the sonic layers of ‘Supernova’ that is certainly a lot brighter as introductory song ‘Lavender’ indicates with its summery hazy feel created by use of reverb on the  vocal, gentle strumming of acoustic guitar and use of Mellotron. The opening bars of ‘Pick Up A Gun’ blooms into a kaleidoscope of sounds and sees LaMontagne taking several steps further into less familiar territory and one full of psychedelics as there is a real sense of wanting to forget. In keeping with the dreamlike qualities of several of the songs on offer here, the lyrics offer little by way of clues to their overall meanings as LaMontagne has suggested: “Some songs are like riddles, or puzzles, an unknown begging to be figured out,” only this may take some time. Whether ‘Supernova’ is the way forward for Ray LaMontagne only time will tell, as there will be those who lament this change of direction whereas others will undoubtedly welcome this fresh approach and openness to greater experimentation.

A now husband and wife duo, Hat Fitz and Cara Robinson resurface with new album ‘Do Tell’ on Manhaton Records. Having been produced by legendary blues artist Jeff Lang, ‘Do Tell’ is an American roots album with a strong regard for the blues, and one that likes to reside in the past due to its ‘old-timey’ qualities but also retain two feet in the present considering the up-to-date feel of the shuffling beat fuelling such examples as ‘Stray Hat’. It is this very song that also showcases the compelling approach of one half of the duo – Hat Fitz who delivers his lines in a deep husky manner and sounding more a resident of New Orleans rather than his native Australia. In stark contrast, Cara Robison offers a sweeter sounding vocal but one that is also far-reaching considering the soulful belter that is ‘Gotta Love’, wonderfully aided by some dextrous blues guitar playing. Not content, however, to let her man steal all of the limelight, Cara Robinson has added various strings musically to her bow by taking up the sticks in addition to flute, tin whistle and, integral to every skiffle band, the washboard. A beautiful and beguiling combination musically and visually, Hat Fitz & Cara Robinson are fast shaping up to be the next creative duo with a strong roots flavour that will be on the lips of many people, especially when packing such quirky tales of lead song ‘Do Tell’  and tender beauties as ‘Long Dark Cloud’.

After three well received solo albums, Jamie Hutchings breaks ranks and returns to the fold with new outfit Infinity Broke. Comprising of members Reuben Wills (bass), Jared Harrison (drums) and Hutching’s brother Scott also providing drums and percussive duties in addition to his creative eye for the band’s photography, the resulting process is an eight-track album conceived in a disused shearing shed in the middle of the NSW Australian outback. While this new line up presents a fresh challenge for Jamie Hutchings, the outlook of ‘River Mirrors’ throws up a few reminders of his former band Bluebottle Kiss, with influences plucked from a variety of sources ranging from Afghan Whigs, Tom Waits, Sonic Youth, Captain Beefheart et al. In fact, it’s the excellent and drawn-out ‘Monsoon’ that really pricks at the senses first, as it harks back (surprisingly) to his former band’s first album ‘Higher Up The Firetrails’ with its near freefall into oblivion of guitar experimentation midway through before finally reappearing the other side and regaining its composure. The doom-laden feel of former single ‘Swing A Kitten’ is expertly handled with its faster, faster, faster approach in the hopeful event that an escape plan will reveal itself before this dream becomes a reality. The pots and pans entry and subsequent rhythm of ‘Gallows Queue’ offers a quieter tone and possibly an offshoot from Hutching’s solo pursuits, only a return to former grounds resurfaces during a brief tetchy moment via the guitar. The final nod to the past is the reinterpretation of ‘Let The Termites Eat Our Riches’ now reduced to ‘Termites’ but making up for it in sound as it takes in a variety of moods of sonic experimentation; swinging from irritable guitar bursts, pounding repetitive drum patterns and fleeting high-pitched vocals. Worryingly, the realisation dawns that ‘River Mirrors’ could be the final chapter in the career of Jamie Hutchings because there are several clues between the layers that point to such a fate. Any such decision would be a great injustice as ‘River Mirrors’ is a stirring return to former glories, and one that equally matches in terms of consistency but also keeps a tighter rein on the experimental endeavours that only experience can bring.