An appropriate album title for The Sidewynders with ‘Let’s Go Sparkin’ With…’ as there is a real energy fizzing between the grooves of the majority of songs, but also there is much to get incensed about judging by the angst that relationships can (sometimes) bring and reflected here. Beginning with the sprightly sounding ‘Lyin’ Baby’ with added steel strings, the contents of this song reveals a different tale, however, and one of a relationship that went sour and now replaced with resentment as indicated by the parting shot, “I hope that you live life with regret, with my heart you are in debt, because baby – baby what you done to me is lowdown dirty crime”. This is why The Sidewynders matter so much because they really do care about their feelings and the state of their music which, by the way, is as every bit skilled as the ideas and personal reflections scribbled here. Unfortunately, for these cool cats, the relationship stakes fail to see an improvement as far as luck goes, but it all makes for compelling listening which, combined with the dextrous guitar and light rhythm of ‘Fancy Free’ and followed by the rockabilly and severely broken heart of ‘No Shame’, The Sidewynders know something about turning misery into sheer delight. There is a touch of the Bill Haley’s with the percussion entrance of ‘Dry Run’, which proceeds with a similar rhythm to ‘Jailhouse Rock’, and then catching a second wind with the breezy tempo of ‘Closer & Closer’ that showcases some fine vocals. Just before last orders is called though, The Sidewynders up the ante further, as far as any competition is concerned,  by revealing the creative delight that is ‘She’s Got It Made’, taking its inspiration from big band and swing and offering superb interchanging and dual vocals that makes our life definitely complete!

Miranda Lambert is back with the brand new album ‘Platinum’ that offers a blend of traditional country with elements of rock music. By combining these two genres is a means of trying to appeal to a broader audience and not just hardened country fans, but while some other artists’ efforts may sound forced, Miranda Lambert makes it all sound effortless as there is a seamless flow of consistency throughout her latest long player. Starting with the solid country rock of ‘Girls’ that immediately provides an example of the sheer power at the centre of her vocal chords despite not really manoeuvring out of second gear. The title track is almost portrayed in a country rap style, if ever such a thing existed, but thankfully it doesn’t fully resort to such measures as the song refers to the pressures that come with fame and success and, more tellingly, the reactions from others. There is room for collaboration as well as Miranda Lambert joins forces with Little Big Town and pulls off a delicate and spacious number that is full of nostalgia for simpler times. What begins as a lone instrument, coupled with Miranda Lambert’s vocal, gradually builds its momentum and in the process peels away a succession of insightful lyrics of a personal nature during ‘Bathroom Sink’, which paves the way for the humorous and rather clever ‘Old Shit’ (Yes, that is correct) that displays its passion for collectibles as illustrated by the background noise of vinyl static. If there is a standout track, however, then that honour falls to the marvellous rendition of western swing of ‘All That’s Left’ featuring The Time Jumpers which, in all honesty, would suit a full album’s worth if ever Miranda Lambert warms to such an idea.

Naming your latest album ’48:13′ suggests that time is beginning to catch up with Kasabian. Not that this five piece from Leicester has anything to prove, of course, after a succession of critically well-received albums and legion of loyal supporters championing their cause, but the signs of a band struggling for fresh ideas is slowly beginning to reveal itself. This latest album, however, begins in fine fashion with the humming static of electronics and subdued fizz of guitars that is ‘(shiva)’, before flowering into the thunderous beats and tripped-out psychedelia of ‘Bumblebee’. The film score inspired entrance of ‘Stevie’ would not sound out of place in a Bond film as it eventually catches up with an exhilarating rhythm that gives a fine impression of a song moving in transit as there is a real sense of one car pursuing another, hence the Bond reference. ‘Mortis’ is a mournful and brief instrumental that directs the listener to the first lacklustre effort in the ideas department, both musically and lyrically, with ‘Doomsday’ and followed by the all too familiar ground of yet more pounding beats and boastful comments running throughout ‘Treat’. A change of tempo and style is welcomed with the intriguing ‘Glass’, that is more considered in its use of electronica and fleeting standard instrumentation but then, surprisingly, takes an even greater twist in its strategy by closing out with a spoken word passage that contains the telling line, “When the biggest criminals I ever met wore a suit and tie”. ‘Explodes’ continues the more restrained approach and owes a slight debt to Gary Numan, before returning to tried and trusted ground with the pounding ‘Eez-eh’ that skewers the usual suspects of Primal Scream, Happy Mondays and Stone Roses in one fell swoop. Not without its faults, ’48:13′ warrants enough attention for the sometimes weird and wonderful and one or two forays venturing into classic Kasabian territory. However, it’s the latter category that requires considerable tinkering if, next time around, Kasabian is to enter a whole new era.

The identity of Norway’s (Frank) Benjamin Finger remains an enigma and one that is on a par with the UK’s modern street artist Banksy. Such a mysterious identity is fitting of the music this Norwegian is peddling, as it is more about electronic atmospheric soundscapes than anything singer-songwriter by way of an acoustic guitar and unkempt facial hair (although…see above regarding the latter). What the listener gets, therefore, with Benjamin Finger’s latest album release ‘The Bet’ is a collage of sounds pertaining to various moods, such as the aptly named ‘Faintheartedness’ with its fleeting rhythm providing the woozy emotions by means of stammering vocalizations and simple piano that eventually ends up chopped and sliced and left flickering in a succession of electronic bleeps and whirrs.  Imagine if you will the characteristic tender openings of guitar strings being picked of an Explosions in the Sky composition and you are somewhere close to the shimmering and waiflike ‘Rosencrans Exit’. One can extract that ‘The Bet’ is concerned with humanities inabilities to safeguard world resources, given that the majority of songs presented here possess dreamlike qualities and therefore suggesting only one likely outcome if the downward spiral persists. ‘Bad-Luck Planet’, in particular, serves as one such precursor by sounding as if it has exited one world only to find itself wedged in a completely vacuous space as illustrated by the repetitive hum of electronica. Just as ‘Nasal Breakdown’ sounds equally grounded in its tracks, the space entered is far more pleasurable considering the beautiful ethereal vocals that surround it. ‘The Bet’ is a patchwork of ideas and emotions stitched together and striving to make sense of the world by means of various electronica and occasional guidance from elements of classical music that provides no further clues to the enigma that is Benjamin Finger only that he remains in a class of his own.

Scrolling down the track listing for Haraball’s ‘Half Tux’ provides nearly a dozen reasons for not wanting to leave the house in the morning. Whether this is due to a serious condition involving paranoia and delusional episodes, or that one is slightly more cantankerous than their fellow neighbour, both reasons appear plausible once hearing the various firecrackers igniting from this second album. A distorted opening groan of guitars arouse the senses before launching into a pummelling assault of post-punk and hardcore that is ‘The House That Builds Itself’. Following on from the guitar solo that brought the former song abruptly to its knees, the rolling tumble of ‘Crazy Tram’ is equally frenetic as its opening predecessor, only allowing for a tad more air to breeze between the blistering rhythm. ‘Manchild’ offers the first inkling of a composition not willing to be constrained by any particular pattern as it has a tendency to kneejerk occasionally in different directions that allows for a little restraint and usher in some grunge to the melee. Such a description can be applied to the intriguingly titled and mischievous tendencies of ‘Sack Of Onions’ and equally curious ‘Mallcop Dungeon’; the latter song building in a crescendo of guitars and pounding drumbeats that escalates into glimpses of searing feedback before regaining its previous momentum. Despite offering a full shot of adrenalin to the system by way of ‘Half Tux’, underneath the raging emotions and often chaotic noise there exist enough subtleties to suggest that Haraball is steadily evolving into a force to be reckoned with.

As with the recent Johnny Cash discovery, another of the original Sun Records’ artists, Roy Orbison resurfaces by way of a deluxe edition of a former release with ‘Mystery Girl’. Marking its 25^th anniversary in style, this new edition of ‘Mystery Girl’ includes all of the original ten tracks, but also nine previously unreleased studio works and demos. The accompanying DVD features a full-length documentary, in addition to a number of music videos that truly adds much weight to the overall quality of this reissue. Having received much critical recognition on its first outing, ‘Mystery Girl’ will no doubt revive fond memories for many Roy Orbison supporters, especially with the hit single ‘You Got It’ that has lost none of its vigour. Another facet to the appeal of Roy Orbison was the enigmatic and almost operatic delivery of his vocal that suited his often balladry style with songs such as ‘In The Real World’ and ‘A Love So Beautiful’. A welcome re-release with superb bonus material, ‘Mystery Girl’ has definitely stood the test of time and one that is still worthy of its former praise.