A different proposition from El Toro, and one that sways considerably from the norm of rockabilly, with Smokin A and his debut album ‘Smokin’. More notably, Smokin A is a mysterious figure with very little known about this artist apart from the contents of the long player ‘Smokin’ that was recently thrust under our noses. After countless repeat plays, any efforts to pin down the influences at the heart of this record has remained a difficult task, and one that has been matched with much enthusiasm on this side of the counter. If labels are required, however, then Smokin A offers ten tracks of sparsely influenced rhythm and blues blended with sparse references to soul and rock ‘n’ roll. Such references become blurred, however, once the likes of ‘Wishmaster’ makes its entrance with its 60s flavoured organ, but it’s a song that is far more current despite hefty links to the past as it’s a track that wouldn’t sound out of place in an Artic Monkey’s set list or side project The Last Shadow Puppets. The bare components of the song structures continues (‘Work Of Art’) and often shrouded in dark moods (‘Dirty’) and disconnected feelings (‘Smokin’). Such feelings are captured to perfection throughout ‘Normal’ where the central guitar plucks out the lines providing real expression, and one that greatly complements the deliberate lack of interest given by the vocals. With further mystery surrounding this artist due to the addition of two extra tracks that were not chalked up on the board for your reading pleasure, the album presented by Smokin A really provides a sharp prod to one’s senses because despite taking its references from the past, the album ‘Smokin’ does not sound of vintage age yet is more at home in the present. A refreshing outlook indeed from both recording artist and record label.

The duo of Tomi Salmi (vocals/guitars) and Sami Vuollekoski (guitars/vocals), otherwise known as Stale Lane, start their journey with their debut single ‘Pyro’. The opening track from Stale Lane arrives ten years after Tomi Salmi and Sami Vuollekoski’s previous band, MALfUNCTION, decided to call time on that particular musical chapter. Therefore, with time on their side to ponder their next move, it wasn’t long before a decision was reached, with the new project up and running and where Salmi and Vuollekoski currently find themselves under the heading of Stale Lane. Such a decision to start afresh immediately pays dividends for the longstanding bandmates as Stale Lane’s ‘Pyro’ proves to be an engaging alternative-rock track that warms its hands immediately via a buzzing guitar intro that opens out into an impressive lead that weaves a pattern between the moody vocals and main rhythm section. Think Chris Cornell, Pearl Jam and with one or two parts borrowed from Nirvana and you’re somewhere close to the sound and vision that ‘Pyro’ aims for, which really is a good place to start, and one that Stale Lane achieves admirably for this first outing.

Wearing matching attire and looks resembling one of Hollywood’s film and studio A-listers, with a second clue held by the title of this third offering from Scotty Baker (answers on a postcard to the usual address if you like), ‘Lady Killer’ is the album that should see the Australian rockabilly star gain further popularity. Backed by his in-house band, the equally talented ‘Doel Brothers, along with fellow Aussie Ezra Lee (piano) and the seemingly ubiquitous and guitar maestro Darrel Higham, Baker set about his business with the end result being fourteen new compositions. Beginning with the rockin’ and swinging affair that is ‘Back To The Country’ with its effective use of pedal steel and lyrics full of suggestions about heading back to his roots, or more a question of escaping the hustle and bustle of city life which has served Baker so well in terms of promoting his music to wider audiences. However, any desires of the quiet life thankfully evaporate once the mean and moody rockabilly influenced ‘Bump Stops’ enters the picture because it’s a song full of attitude (held by its rhythm alone) and subtle humour (a key ingredient and definite charm to the song writing of Baker) referencing cars with the opposite sex. Another attraction of ‘Lady Killer’ is the broad range of influences used during such numbers as ‘One And Only One’ that ventures out into rhythm and blues with a fine turn on the sax from Stephane Swervy, and repeated during the bright ‘Baby’s Dress’. Elsewhere, the formerly mentioned Ezra Lee stamps his mark all over the excellent ‘Hank’s Cadillac’ that references Hank Williams, coupled with flashes of Jerry Lee Lewis via Ezra’s dominant and skilful playing. The ghost of rock ‘n’ roll is conjured during back-to-back songs ‘Girl I Need’ and the album’s title track, with both numbers possessing killer guitars at the hands of Darrel Higham, who combines garage rock with rock ‘n’ roll on ‘Girl I Need’, and then helps to drive an infectious rhythm during ‘Lady Killer’ that goes straight to your heart with added HEAT from Scotty Baker’s vocal. ‘I Still Don’t Care’ is a how many finger(s) salute one cares to use in the direction of a former relationship that turned sour. Whereas ‘Forget About My Heart’ raises a glass of humour with its  “…forget about my heart and give my liver some love”, which gains further clarity once the chuggin’ rhythm, à la Johnny Cash, comes into view of ‘One Of The Some’. The genius that is Scotty Baker makes it three albums in a row where the word ‘magnificent’ can be applied, once more, to latest addition ‘Lady Killer’. If there’s to be one winner however, then this latest addition to the Baker catalogue edges the contest by the narrowest of margins, simply for its openness to a broader range of influences, and for its decision to allow its hired hands equal ownership over its contents and turn ‘Lady Killer’ into a real family affair.

No doubt viewed by some as an unnecessary exercise when it comes to producing (more or less) carbon copies of the songs of Johnny Cash, but not so for the men in black known as Johnny Horsepower. What makes this trio of musicians standout is their location of Denmark that is far removed from the original man in black’s upbringing, yet mirror that early rockabilly sound they most certainly do and with a few of their own compositions thrown in for good measure. In fact, it’s one of Johnny Horsepower’s own songs that captures the attention from the off with ‘The Story Of The Man In Black’ that doubles up as a tribute to Johnny Cash as well as paying its respects to the early foundations of the rockabilly genre by namechecking Elvis, Carl Perkins et al. ‘Hey Porter’ is a sweet reminder of the basic charms of the aforementioned early roots of rockabilly and remains lodged in the memory bank for days after it has finished spinning. The rest of ‘The Band In Black’ speaks for itself with authentic and inch perfect deliveries during ‘Let The Train Blow The Whistle’, ‘Wanted Man’ and the dark and wry tones of ‘I Didn’t Shiver’ that was one step ahead of Nick Cave & the Bad Seeds fame. If there is a downside to this album, and unfortunately there is, it can be heard from the small cluster of songs beginning with ‘Folsom Prison Blues’ where the band enrolled the talents of W.S. Holland on drums and made the decision to record these songs live. Nothing wrong with that decision of course but, unfortunately, the live setup sits awkwardly with the rest of the LP and would have served far better as an EP in its own right. Small gripes, but definitely warranted when the album ends up sounding like two separate entities. That said, ‘The Band In Black’ is a must for all fans of Johnny Cash and those who simply enjoy the early primitive sounds of rockabilly.

Norwegian country artist Arne Benoni teams up for a duet with fellow country artist Tone Holen for latest single ‘Vagabond Boots’. With this brand new ditty serving as the title for Arne Benoni’s new LP as well, the current single appears to deal with the loneliness experienced after the demise of a relationship and the seemingly endless drift into the unknown as well as thoughts of prospects new; hence the lyrical refrain “Wearing out my vagabond boots” in the hope of “Sidewalks still unknown”. It makes for compelling listening which, coupled with the aching qualities of the music expressed by way of country and rock music via its guitars, ‘Vagabond Boots’ is a moving ballad that stirs the emotions and sounds effortless in its delivery. Such a feat is hardly surprising considering the two Norwegians at the heart of this song and the wealth of experience that they bring. ‘Vagabond Boots’ has found a definite welcome home at Famous Last Words (FLW).

Lovingly described as “experienced EDM producers, DJ’s and hermits”, the Finnish partnership of two childhood friends from a remote and rural region of northern Finland, conjure up a sound that is pure 80s pop mixed with heavy use of synths and references to (according to their press bio’) “Italo-disco” or perhaps, more accurately, European electronic music. With this latest release by KOSAN being a double A-side single, it becomes clear why the duo made such a decision considering the strong merits of both tracks. A comparison of the two reveals that ‘Hearts On Fire’ possesses a more up-tempo rhythm made up of bright and shiny synth sounds complete with electronic drums, intermissions of eighties guitar and machinelike vocals. The flipside, ‘Important Nights’, is a slightly more sombre affair that gives the impression of being very reflective with its moodier and late-night tones and, interestingly, for containing a break approximately halfway through that steers this atmospheric electronic piece in what sounds like a change of direction. Very impressive indeed.  A strong, two-track single that bodes well for the rest of KOSAN’s journey via electronic synth pop if they so choose to accept this option.