It’s rather ironic that a lot of the current European artists are outdoing their American counterparts when it comes to reproducing a sincere country sound. A fine example of this transition is The Country Side of Harmonica Sam and their current album ‘Open Letter To The Blues’, because it doesn’t come much more authentic than this when replicating country music from the late 50s and early 60s. With the countries of origin for this new long player stemming from Sweden and the UK, this latest guise for Harmonica Sam (real name Chris Wilkinson) is one that fits splendidly as the honky tonk sound of the aforementioned periods in history is resuscitated and delivered inch perfectly as if it never went away! Together with band members Peter Andersson (steel guitar), Johan Bandling Melin (lead guitar), Ulrik Jansson (upright bass) and Patrik Malmros (drums), Harmonica Sam sings with a genuine authority that makes these covers sound like his own compositions whether coming from Faron Young, Skeets McDonald or Ray Price, not to mention the band’s own song writing which can be found here as well. Setting the time period from the off is the excellent ‘A Double Shot of Heartache’ with compelling steel guitar and added fiddle from additional musician Johan Malmberg. The heartache really begins though, during ‘Forbidden Wine’, where you will hear a real sense of yearning at the centre of this song and one that makes those George Jones comparisons believable. The mood is lifted somewhat with ‘It’s Such A Pretty World Today’ as it’s a lovely mellow tune, with the steel guitar providing that extra tonic and allowing for a bit of sunshine to seep through the cracks between the blinds. Such a cheerful disposition doesn’t last long, however, as the blues return with a vengeance and finds Harmonica Sam soon drowning as suggested by the line, “Just because I’m smiling, it doesn’t mean I’m fine” and you instantly know where you are in terms of the context of this particular song (‘I Regret It Every Day’). From such compelling traits so often found in country music, with its melancholic song titles and habit of finding a rhythm that is more lively than it should be considering the misery involved, The Country Side of Harmonica Sam more than masters such feats. In fact, the song delivery is so convincing that it is likely to have any listener reaching for their copy of this record to see exactly when it was produced, because ‘Open Letter To The Blues’ is definitely not from the present era, that’s for sure!

Having spent the best part of six years in hibernation, Norwegian three-piece, Cloroform, show that they’re ready for the next phase in their recording career with brand new single ‘Beach Buns’. The truth is that all three band members – comprising of John Erik Kaada, Børge Fjordheim and Øyvind Storesund – have been busy with other activities involving solo projects, film compositions and moonlighting for other artists including the likes of Kaisers Orchestra, Morten Abel and Sivert Høyem. Kick-starting 2016 off with the cheekily named and out-of-season single, ‘Beach Buns’, the first offering from their upcoming long player, Cloroform show that they have lost none of their eccentricity and unpredictability when it comes to their creative output as ‘Beach Buns’ is a somewhat slippery character to define. The closest indication, however, is the presence of QOTSA entwined in the driving (stoner) rhythm underpinning the song, whereas the rest is open to numerous interpretations as small fragments of electronica, handclapping and interchanging vocals add their contributions, making this an intriguing appetizer until the main course later this spring.

With Matchstick Men’s new single arriving at Famous last Words (FLW) recently, and knowing next to nothing about this band from Liverpool, the immediate feeling before hearing a single note of ‘Different Paths’ was of 90s era baggy and Britpop. The truth of the matter is far from such a prediction, as Matchstick Men forge a sound that is far closer to American (alternative) rock than anything resembling a Merseyside influence when considering what has gone before. Country of origin aside, Matchstick Men deliver the goods in fine style with the ballad-esque ‘Different Paths’. With this new single acting as a precursor to the band’s forthcoming sophomore long player, ‘From Our Own Ashes’, it certainly bodes well for what’s to come as lead vocalist, Lewis Wright, offers a reason for one to confront their fears by way of a compelling voice, that is enhanced via Iain Forsyth’s backing vocal and tight musicianship from the band in general. More Goo Goo Dolls than anything resembling CAST for example, Matchstick Men is certainly taking a different route, but one that serves the contents of ‘Different Paths’ perfectly.

Beautifully packaged, with artwork by Cameron Robbins and mastering handled by Fletcher McDermott, is the latest album, ‘Until The Morning Comes’, by musician Richard Ginns. What sounds like an attempt to capture the smallest of sounds, Ginns proves a master of his craft where the vibrations of the acoustic guitar strings can be heard once plucked, for example, down to the fizzing static of background atmospherics that surround all of us. By opening with ‘Threads Of Light And The Quiet Hum’ the intimacy created by capturing numerous sounds, such as the faint trickle of water and the creaking of furniture, produces a sense of wonder as it does unease in the listener because it generates of feeling of prying on the privacy of this particular individual or household. This of course does not detract Ginns, who continues to weave an instrumental spell that attempts to capture any nuances of human behaviour, as well as the environment, through varying degrees of sounds that are often the thinnest of threads and where, for example, (sun)light is breaking through the darkest and coldest of winters (other descriptions available such is this record’s ability to generate different moods). It’s an expertly controlled lo-fi record that offers much beauty as it does melancholy in its sonic textures, rendering ‘Until The Morning Comes’ a worthy addition to Ginns’ recorded output.

After a hefty bout of travelling and considerable soul searching along the way, the duo of Sean Huber (Modern Baseball) and Will Lindsay (W.C. Lindsay) came to a decision that a once talked about creative pairing between the two should actually become a reality. The two years spent trawling through several foreign lands, and meeting countless strangers, provided the impetus to set the creative wheels in motion, and thus Vicky Speedboat was born. The results of this decision to combine their creative efforts is ‘Two Years No Basement’; a six-track EP containing a mixture of melodic and raw indie punk rock, and a trading of vocals between the two central musicians of Huber and Lindsay that makes for an engaging listen. Recorded in 2015 at Kennedy Studios in Burlington, MA, by Steve Aliperta and Chris LaRoque (The Colour and Sound), ‘Two Years No Basement’ leaves you wondering why the pairing of Huber and Lindsay left it so long because it’s an impressive start for Vicky Speedboat. Evidence of the quality of the songs on offer here can be heard from the energetic intro, ‘Philadelphia Contact High’, and then followed by the far grittier and passionate vocals of ‘Roman Candle Fires’. By naming one of your songs ‘Passing Through Wales’ is enough to spark intrigue here, but it’s also the speed of its delivery via some punk-pop and sharp lyrics about issues concerning a midlife crisis for example. As its chant of, “I’m not going to be alone any more” rings out, the chance of that continuing is highly unlikely because ‘Two Years No Basement’ is a record that will acquire friends quickly and deservedly so.

Grunge is alive and well and residing in the South West of England and South Wales. With a sound that is more akin to the cities of Boston and Seattle rather than the cities of Bristol and near neighbour Cardiff, relatively new trio, Glue Foot, is ready to unleash their noise for a second time with the forthcoming ‘Seed’ EP. With a loyal following having been steadily built through a number of gigs but, more interestingly, by opting for a different environment of performing at multiple house shows with a variety of their contemporaries, Glue Foot reveal a strong identity that is fiercely independent and backed up by a robust sound. Such qualities can be heard in the band’s ‘Seed’ EP where opening song ‘Guilt Milk Mix’ begins in a low-key, hazy acoustic strum that eventually gives way to a barrage of noise where drums crash and tumble, and the guitars sound gigantic. The ensuing ‘Silk’ is built of a slightly different consistency that is very bruised and sore around its edges as emphasised by its rugged bass and detached sounding vocal, before it develops into a fuller sound that is quite seething by the time it runs out. The high quality continues with the loose pop strands attached to a predominant grunge sound of ‘Grangetown’ where kicking one’s heels in frustration, due to a small-town existence, is definitely the main emotion expressed. With the final song, ‘Floating Like A Leaf’, splintering in two, with its second act offering a few poetic words, Glue Foot is delivering their own message, with a small amount of assistance from 90s era grunge that is definitely ripe for a revival.