Finding new ways of expressing himself through different sounds is all in a day’s work for instrumentalist, Jonathan Kawchuk. Hailing from Canada, this architect of sound has explored various parts of the globe in order to achieve a broad source of sounds, whether from individual movement or the natural elements playing their part. Having worked previously on albums for artists Nico Muhly and Ben Frost, as well as serving as an assistant sound technician for the Philip Glass Ensemble, Kawchuk has more than served his apprenticeship by acquiring enough experience to produce an album that is entirely his own work. Such a time has arrived as ‘North’ offers a palette of different sound textures, captured (interestingly) in the Norwegian forests and various other places in Canada, Iceland, Israel, Portugal and the UK. With the album being recorded between 2013 – 2014, and mixing and mastering handled by Paul Evans, ‘North’ represents Kawchuk’s vision, retold through fragments of sound patched together. From the quivering and often fleeting drafts of noise where use of cello and, more frequently, piano dictate during the opening ‘Right Into You’, the mood throughout ‘North’ is often changeable, and therefore reflective of its natural surrounds. Such varying tones can be heard in the darker shades of the tracks ‘Aware’ and ‘Overhang’, with the latter piece possessing an edgy backdrop via a distant yet noticeable recurring beat (quite possibly the ‘actual heartbeats’ described by the album’s liner notes). A compelling experience made with care and the closest attention to detail, ‘North’ is the perfect start for Jonathan Kawchuk as he embarks on his solo recording career.

The highly productive Craig Ward returns for a second solo jaunt with latest album, ‘Leave Everything Move Out’. After dropping in and out of this current project, the former dEUS guitarist finally found the appetite to complete the task by writing and recording the five instrumentals on offer here. With the barebones of this record having started as far back as 2009, when Craig Ward was in the middle of a sabbatical year in North America, the creative drive to recover a previous attempt at recording ‘Leave Everything Move Out’ managed to find its way back to this artist. To aid this newly found impetus, Craig Ward enlisted friend and producer, David Odlum, as well as being fortunate to receive Lottery funding from Creative Scotland to help pay the bills. After such a lengthy duration to get to the point where ‘Leave Everything Move Out’ finally gets to air it contents in the public sphere is no doubt of great relief to Craig Ward, and all those who caught wind of the initial foundations of this project and therefore waiting in anticipation for its release. You will not be disappointed as the five compositions of ‘Leave Everything Move Out’ are built of sturdy materials, with their architect patiently applying the layers whether beginning with synths or guitar and drums. ‘New Haven’ is one such example where the faintest waft of electronica gives way to a repetitive piano pattern and a glistening guitar sound that is trademark Explosions in the Sky, only for Craig Ward to develop it further by adding a slight Celtic influence accompanied by a semi-military procession beat. From such a strong opening ‘Addict’ applies considerable weight by looping a firm guitar and solid drum sound that becomes increasingly raw nearing its end. The closing ‘Trinity’ contains aspects of the former ‘New Haven’, but where that song appeared to take its time, ‘Trinity’ is more direct with the guitar(s) forceful and on the verge of breaking into a melodic sound. ‘Leave Everything Move Out’ is an accomplished achievement, and one that was wisely resumed by Craig Ward after nearly discarding it altogether.

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.

Having arrived on the FLW desk recently with the briefest of paragraphs confessing a great attraction to the practices of DIY when it comes to creativity, very little is known about this indie band who go by the name of Kolektiv. Apart from Belgium being the country of origin, the only other known fact is that ‘Perdition’ and ‘Potemkin’ are the two nominated songs making up the current single by Kolektiv. With this being a digital download only release, coupled with a lack of information to go by, any notion regarding promotion in relation to this single release is definitely not at the top of the agenda here. The idea of burying as far underground as feasibly possible regarding one’s creative ideas and processes is more in line with the sounds of Kolektiv. Lead track, ‘Perdition’ certainly takes its time by weaving a drum and guitar pattern with atmospheric vocals, that sets a gradual rhythm and ends up sounding rather scorched around the edges as it reaches its conclusion. The flipside, ‘Potemkin’, introduces a short flurry of electronic pulses and then proceeds to build in similar manner to ‘Perdition’ only for segments of its rhythmic pattern sounding slightly more complex by giving the impression of playing out in reverse. Whether it’s post-grunge, math rock or quite simply alternative rock, Kolektiv is certainly building towards something rather intriguing, especially considering the scant information given. It’s definitely a case of let the music speak for itself when it comes to Kolektiv.

After this year’s debut album, ‘Angerville’, and appropriate single, ‘This Year’ that received much radio play in her home country of Norway, Ine Hoem made a swift return to the recording studio to maintain the attention her indie electronic pop has been receiving. Sweden has been the choice of destination to record the new material for Ine Hoem’s next album, with producer Tobias Fröberg (Ane Brun, Loreen, Anna Bergendahl) selected, along with musicians Lars Skoglund (Lykke Li) and Robert Elovsson (Robyn) to add their guidance and expertise as well. The first fruit to surface from this process is the song, ‘This December’ that pays reference to personal aspects of Ine Hoem’s life, against a seasonal period that can be both impressive and miserable in equal measure. Such feelings are echoed by the lyrics and the manner in which Ine Hoem expresses these words, where the enthusiasm for “I plan to have a party” is not really quite there, and seems more a nostalgic reference than anything else. The low-key electronic pop generated here also gives the game away that all is perhaps not well in the Hoem household, where the desire for a feline friend at the top of the Christmas list looks odds on favourite to win. There is a dark humour at the bottom of this song, it just takes a few rounds to hear it. In terms of what to expect regarding the new album is as good as anybody’s guess because Ine Hoem is definitely keeping her cards close to her chest.

By producing a sound that is more in line with the alternative rock and early grunge that was vastly popular during 90’s America, but not without notable mentions to the likes of early shoegaze with UK indie band Ride, the band at the centre of this glorious racket that is the double A side single, ‘Monochrome / Derailed’, is Leatherneck. The North West of England is the actual destination where Leatherneck has been busy constructing these two songs that run similar themes reflecting on life’s struggles, and the changes these can bring in terms of the people involved and how they’re perceived. The backdrop, musically, to both of these narratives is gritty and guitar-driven, but not without subtle melodic touches that can be heard during both numbers. For example, there’s a definite sweet edge to the guitars of ‘Monochrome’ that sweep along at considerable pace, and countered by the blunt edges of the vocal that makes for a compelling experience. The other offering, ‘Derailed’, is similar in its delivery, only the guitars possess a greater sheen (that’s not a reference to being commercial by the way) which, by the song’s conclusion, are sounding absolutely red hot. An EP is scheduled for next year which, on the basis of this current single, is worth further investigation, especially to see whether Leatherneck can expand on their sound to add variation to the quality set by ‘Monochrome / Derailed’.