Fourth solo album for Australian Kieron McDonald who normally can be found fronting the Flatfoot Shakers. Latest album ‘Shake That Thing’ is pretty much business as usual with Kieron recreating a genuine rockabilly sound with leading contenders for such a description via the snappy twang of opening song ‘Rockabilly High’; the lonesome ‘The Knock On My Door’ which is instantly kicked into touch by the positive upturn in fortunes of ‘Goodbye Lonesome’, before pleading once more for ‘A Little Love’ in his life backed by a rockin’ rhythm. Such knowhow when creating a long player full of original material is largely down to Kieron McDonald’s longstanding when it comes to the rockin’ scene, only this time there is additional support and creative input from fellow Aussies Hank’s Jalopy Demons and Ezra Lee. It would appear that the additional input of these musicians has added to the slightly darker edges and wilder elements that have a habit of appearing at various stages (‘The Devil’s Eyes’, ‘I’m The King of The Road’ and ‘Why’) not to mention the piano trickery of Ezra Lee capturing an old-timey feel during the excellent ‘She Means Nothing To Me’. With such good company in the rear, Kieron McDonald doesn’t forget to shine as this is after all his stage and where you can hear his influence all over the reflective ‘She Thinks of You’ and relentless beat of ‘Go Go Girl’ for example. A full pot of original material and one that requires your undivided attention because ‘Shake That Thing’ is just that record to keep the rockabilly flame truly burning.

Having avoided the prospect of a truly gruesome demise via the walking dead in the heart of the West Country (see accompanying video to earlier single ‘Zombie Walk’), The Kings of Outer Space made their escape in order to add the finishing touches to their third long player. While it may seem business as usual considering the title of the band’s new album ‘Space Invaders’ – the obsession with UFOs and space travel continues  – this is a fresh start of sorts for The Kings of Outer Space as the band hail a new line-up, with frontman Giggsy being the sole survivor, as well as switching to a new home with Greystone Records. Despite the changes, The Kings of Outer Space remain difficult to pin down in terms of their overall sound, which is always a positive due to embracing elements from a variety of genres – predominately rockabilly and psychobilly yet with strong ties to post punk and to a certain degree mid-80s indie obscurities. It makes for a flavoursome musical fest without ever sounding muddled, but where latest album ‘Space Invaders’ differs from their previous albums is that you can hear a considerable amount of space between the ideas in the songs where ideas sound less hurried and the songs benefit due to being given more time to breathe. Despite these noticeable differences the band retain their identity as there is no seismic shift in style(s) as ‘Space Invaders’ still sounds like a Kings of Outer Space album with rockabilly running ragged through ‘Cosmic Boy’, to the almost western film score parking up during ‘Remainder Men’ that lingers long in the memory afterwards with lines such as, “When the sun goes down for the very last time, You’ll never see me again”. Bookending the other side of this is the garage rock of ‘Lucky escape’ that reveals an upturn in fortunes for the character at the centre of this song. It’s not all positive, however, as the title track attempts a similar sounding feat but, in the process, sounds tepid in comparison and tired as far as the fresh ideas go. Thankfully ‘Crocodiles’ snaps its heels and wakes up the creative department once more by way of the ska-driven beat and creative use of the title serving as a metaphor for the bitter side of life. ‘Ciao!’ reverts to film score territory once more only this time involving a duet with Giggsy and Lula D, and it’s a song that never pulls any punches when pointing the finger of blame for this particular relationship demise. Despite various similarities in sound, The Kings of Outer Space has delivered quite possibly their strongest musical statement yet, which benefits due to less haste but also by incorporating new ideas where the lyrics in particular take five minutes to live with humanity rather than partying with little green men from dusk till dawn. ‘Space Invaders’ could just be the ticket to launch a whole new series of missions for The Kings of Outer Space where non-intergalactic travel is just as essential as the missions to outer space.

With artwork more suited to London’s Tate Modern gallery than a post-punk album, the music served up by longstanding four-piece The Tigerlilies has found a welcome home here at Famous Last Words. By piecing together a six-track EP, the decision to trim the edges and rein in the record’s playing time was a wise choice by The Tigerlilies as the condensed playlist creates a more immediate impact, therefore leaving the songs to reside fresh in the memory bank. Such song writing is largely down to the band’s knack of creating a post-punk sound that is full of melody but one that has coarse edges that suggests a definite linkage to 90s-era grunge, which has not gone unnoticed from other musicians ranging from Violent Femmes, Joan Jett, Paul Weller, Guided By Voices and Superchunk. Opener ‘Easy As It Seems’ has a sense of familiarity about it with an 80’s post-punk sound giving the impression that one has visited this place before (A positive chaps!) despite being The Tigerlilies own composition. The song itself races along on a tight rhythm with vocalist Pat Hennessy stripping his emotions bare and it’s a fine start. Links to the past continue with the mellow sounding tribute to David Bowie entitled ‘Bowie’, and then followed by ‘Green Eyes’ that has a touch of Blondie considering its edgy and melodic rhythm. ‘Darlin’ opens with a honey-dripping guitar line and tender vocal that radiates warmth in the direction of its nearest and dearest. It’s a love song, pure and simple, and it works wonders. There is nothing to fear here, least of all the No. 7, as The Tigerlilies ‘123456’ requires a fast reeling action to bring it into your life and as close to your heart as humanly possible because you will not be disappointed.

A must-have compilation of carefully selected ‘quiet(ER)’ songs from the roster at Engineer Records. With a track list of eighteen songs, there is much for any listener to take in, which is not difficult when you have the likes of Chuck Ragan, Mikee J Reds, The Satellite Year and The Lion and the Wolf coming up with alternative versions of previously issued songs. Such sterling efforts can be identified via Elemae’s ‘Slow’, through to Mikee J Reds almost chipper melody trying its hardest to part the storm clouds considering the frankness of the lyrics “I don’t want to hear your voice anymore”. If such close confessionary tales happens to be your ticket in order to deal with life’s disappointments, then Ryan Mills melodic and robust ‘Asleep Forever’ could just be the ticket, or failing that the fragile rhythm of ‘AWOL’ by Her Only Presence. Having tried on several occasions to avoid using the term ’emo’ due to the various comical elements such a label conjures up, for those in the know when it comes to such emotional matters, then this collection of songs of a more acoustic nature makes for essential listening because there is a rich seam of talent from start to finish when it comes to ‘Lamp Light The Fire’.

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.