With this being her second album at the still relatively tender age of twenty-one, Swedish singer-songwriter Ellen Sundberg remains close to her roots by continuing to reside in the small village of Bjärme, Sweden, where she sets out her creative ideas. The latest instalment is ‘White Smoke And Pines’; ten songs influenced by alt. country and folk music and performed in English, with the exception of one song title scribbled in her native language and being the musically bright, ‘Vägen är lång (The Road Is Long)’. This sophomore effort has the head of an experienced character, but it is one that is still struggling with the complexities of life as evidenced by the reflective tempo and narrative of ‘What Is Life’. With this opening track hinting at a darker core in relation to this album, such suggestions become fully realised with the intensely personal duo of ‘Hollow’ and ‘Maze of Shadows’, both set to the barest of instrumentation. With such examples penetrating deep beneath the skin, Sundberg spins a broader yarn with the inbound train journey breathing out a combination of her own personal thoughts that cease at various interludes to reflect on the variety of characters also on board, which makes for enthralling listening. No doubt the intimate feel of the majority of songs assembled for ‘White Smoke And Pines’ will translate even more acutely during Sundberg’s current live tour, where there will be room for improvisation if the mood takes her there considering the rolling narratives. As its press release accurately sums up: ‘It’s not always the most comfortable place to be, but very rewarding’ because albums don’t come much more confessional than Ellen Sundberg’s ‘White Smoke And Pines’.

Atmospheric and emotive are two adjectives that help to provide a brief summary of the ten-track debut album from Finnish alternative rockers, Strong Addiction. Having pledged their allegiance to Inverse Records with this first offering, the truth is that this five-piece band has been in operation a bit longer, having previously released the single, ‘Empire of Lies’ (2008), and then followed by the EP, ‘Suspicious Reality’ (2010). Therefore, with recording experience on their side and a number of years performing live, Strong Addiction has built up a solid reputation in their native Finland and one that is not difficult to comprehend once the contents of ‘Anesthesia’ start to unfold. Beginning with ‘Fix Me’, Strong Addiction pour out their frustrations which, by the time of its chorus, one can sense that lead vocalist, Sebastian Ulmanen, is equal parts emotionally raw as he is completely jaded due to life’s lack of genuine opportunities. After such a strong opening, the rest of ‘Anesthesia’ does not disappoint with ‘Losing It All’ stretching out its rhythm and, in the process, almost its innards as it reminds of early Jane’s Addiction and, to a far greater extent, American industrial rockers Filter. The ensuing ‘Red Sun’ builds up an impressive wall of sound with the guitars of Anssi Lausmaa and Heikki Virolainen really driving the song, only to be usurped by the epic qualities of ‘Empire of Lies’. Variation is given to the rather superb ‘Sense And Sensibility’, transmitted in the main by Sebastian Ulmanen’s vocal revealing its strength in depth, before reverting to type and providing a fine impression of Richard Patrick (see Filter above) during the blistering ‘Horns’. The ethereal moments of the album’s title track reveals another facet to Strong Addiction, but it’s the manner in which the band force these more fragile sounds through the industrial grinder of noise, where sparks are flying from the guitars and the vocals are close to breaking that exposes the dexterity of musicianship at the core of this unit. If only all debut albums could match the emotional intensity and genuine greatness of ‘Anesthesia’, then the world would truly be in a much healthier state.

It’s been a while since Modest Mouse made an appearance, eight years in fact, but back they are and with a new album under their wing by the name of ‘Strangers To Ourselves’. Conventional they are most certainly not as Modest Mouse flitter between a variety of moods and sounds that can be filed under the indie banner yet remain difficult to define even when placed under duress. An example of this diversity can be detected from the start where the fragile and bruised ‘Strangers To Ourselves’ gives way to the murky yet gripping sentiments of ‘Shit In Your Cut’, that leads to another spanner being thrown in the works with the distorted disco and satirical look at American serial killer Andrew Cunanan during ‘Pistol (A. Cunanan, Miami, FL. 1996)’. Uncertainty is never far away whether in words or music judging by the light and shade expressed throughout ‘Ansel’ via steel drums and kick of the guitar, that really lets fly once the driving rhythm of ‘The Ground Walks With Time In A Box’ gets underway. Despite the lengthy wait for ‘Strangers To Ourselves’ being a frustrating one, all is forgiven when Modest Mouse can whip up such treats as ‘Coyotes’ next to fascinating oddities as ‘The Tortoise And The Tourist’ that gives real credence to the term independent as Modest Mouse continue to avoid the de rigueur of the music industry.

Five-time Grammy winner Shania Twain made the Colosseum at Caesars Palace in Las Vegas her home for two years, having performed over one hundred shows to supporters from all over the world. With her signature of melding country with pop music, Shania Twain added a thirteen-piece band and a number of other features such as dancers and a flying motorcycle to not only put on a show, but one that was fitting of the glitzy traditions associated with Vegas. Such was the overwhelming success of these Vegas performances that the decision was made to release a live album as a memento for those fans who attended, but also for those who were unfortunate to not witness this live extravaganza. ‘Still The One – Live From Vegas’ is the documented evidence of Shania Twain’s residency in Vegas available as a live CD on Mercury Nashville as well as DVD and Blu-ray from Eagle Rock. With the album containing her well-known hit singles ‘Man! I Feel Like A Woman’ and ‘That Don’t Impress Me Much’ that many no doubt were waiting to hear, ‘Still The One – Live From Vegas’ is finely tuned with a sample of Shania Twain’s earlier work with the more country than pop ‘No One Needs To Know’ and ‘Whose Bed Have Your Boots Been Under?’ to name two such examples. With this album being produced by Shania Twain herself, the hands on approach and dedication to her song writing is evident throughout as ‘Still The One – Live From Vegas’ serves as a perfect reminder for those who witnessed one of these live performances.

There is a real sense of drama unfolding with the return of Velvet Six and their second studio album ‘Demons Los Divas’. Having reformed the band’s line-up, Velvet Six waste no time in terms of reintroducing themselves with a sweeping wave of synth orchestrated strings, robust guitars and supportive bass that drives introductory number ‘Twist’ straight to the senses and leaves an indelible mark such is its immediate impact. It is this high delivery of sound  that fuels the drama and sense of the theatrical, which is heightened further by lead vocalist Olle Wallenius’ engaging way with words (“Will my little Snow White get her medicine”) and strong presence throughout. The album’s title track reveals that Velvet Six is no fluke when it comes to writing a memorable ditty as ‘Demons Los Divas’ is dominated by its guitars and bass that combine to create an infectious melody. The aforementioned drama opens up once more with the overstated delivery of ‘Something Evil’, which has a habit of sounding like a number of different songs with various parts lifted and bolted together yet remains annoyingly difficult to pin down. There is no doubting the strength at the heart of this band being its ability to consistently construct engaging melodic songs with a definite hard edge that serve as a conveyor belt of quality controlled delights, with ‘Back To Back’, ‘Blood Rain’ and ‘Loves Like’ particularly indicative of such a description. The wait has certainly been worthwhile as Velvet Six has overcome any suggestion of difficult second album syndrome by turning in a compelling collection of songs that will suitably appeal to current fans as well as entice a number of new supporters.

Released separately as two vinyl EPs, Rockin’ Bonnie & The Mighty Ropers + The Starliters is given the double treatment here as both EPs have also been issued as a singular CD album showcasing both releases. By combining both sets of vinyl works seamlessly as the western swing and country bop peppered lightly with elements of rockabilly and honky tonk blends appropriately and giving this an overall sense of one band performing throughout. With The Starliters kicking things off in fine style with their ‘Two Cats’ and followed up with the catchy hook of its chorus and near spoken word delivery of ‘Stuck On This Gal And Spin That Bottle’, it’s hoped that this four-piece band do not leave it another thirteen years before committing their creative ideas to a follow-up EP. The contributions from Rockin’ Bonnie and the Mighty Ropers make this EP a stalemate, if you’re concerned with such things, as the quality of songs is equally impressive. From the lazy, hazy feel of ‘Cause Of You’ given real credence by way of a laidback piano and lap steel guitar setting the mood accordingly. There is a great version of Hank Snow’s ‘Movin’ On’ that’s given a boost via a beefed up guitar, only to be edged out by the western swing influenced ‘I’ve Done Gone Hot Wild’. With this album being a generous offer of two for the price of one, coupled with the fact that both EPs are consistent in their song writing, ‘Cause Of You…Two Cats’ is one record that is going to be difficult to ignore.