Norwegian artist Stian Fjelldal enters the New Year with the release of ‘Baksida På Operaen’, which is the third single to be taken from his album ‘Idioten’. With very little info on the desk regarding Fjelldal and his musical content, only lengthens the mystery and one worth pursuing in the course of finding more answers. Unfortunately, the quest for answers continues to remain a mystery, in addition to any queries relating to the rear entrance of the opera house remaining equally mysterious, only to say that the ode penned to this particular landmark in the centre of Norway’s capital suggests an unbridled talent, and one skilfully plying his trade via a mixture of hushed vocals that verge on spoken word whilst mild electronica swirls all around. It makes for compelling listening, especially given the added teaspoonful of eccentricity that brings to mind Scotland’s Mull Historical Society. No matter the shortage of answers because the only answer you’ll get once hearing ‘Baksida På Operaen’ is to buy this magnificent single in droves!

Channelling an 80s vibe with latest single ‘When A Kiss Becomes A Habit’ is Norwegian Thea & The Wild. With the single serving as a precursor to the soon-to-be-released LP ‘Ikaros’, Thea & The Wild builds a song that is filled with deep layers including use of strings, electronics and driving percussion and lyrics purporting to the problems experienced by long-term relationships. When reflecting upon latest single ‘When A Kiss Becomes A Habit’, Thea & The Wild (aka Glenton Raknes) had this to say: “‘’When A Kiss Becomes A Habit’ was written at the beginning of a relationship – I was too caught up in my own head to be present, and instead was just worrying that it might all go away. It’s about that point when a relationship just flows and there’s no romance or excitement anymore.” There’s certainly enough excitement to contend with when it comes to the detailed layers of experimental pop that is ‘When A Kiss Becomes A Habit’, and one that bodes well for the imminent release of second album ‘Ikaros’ on Propeller Recordings.

With this being a joint release on two fronts, ‘Ljerke’ is the latest album from Eilean Records. Firstly, the ensemble that is Ljerke consists of various musicians from the Netherlands (Romke Kleefstra, Jan Kleefstra, Sytze Pruiksma) and Norway (Alexander Rishaug, Hilde Marie Holsen, Michael Duch), in addition to video artists Marco Douma (NL) and Haraldur Karlsson (Iceland). Secondly, ‘Ljerke’ is released as a double edition consisting of CD and DVD. In order to capture the live feel of this project, ‘Ljerke’ took its inspiration from the Frisian landscape and therefore evolved into a live improvisation including music, poetry and film in the same context of former projects such as Seeljocht (Piiptsjilling) and Skeylja (The Alvaret Ensemble). Considering this is a debut album from the collection that is Ljerke, and therefore setting forth the difficult task of combining many competing ideas to compile one final result, the end results hint at no such complications. What the listener gets is the bear spine of sounds that filter in and out of earshot during the opening  ‘Muurv’, and then proceeds along a fuller set of notes during ‘Tsjilland’ with a compelling use of trumpet, before plummeting some way into a cavern of darkness that is ‘Waarbekkasin’, which doesn’t make for easy listening. By combining numerous ideas from the high number of personnel that is Ljerke, the album of the same name is faultless in its overall execution, yet it’s the very sounds captured and created that leaves one trawling through a range of emotions and therefore sets up ‘Ljerke’ as an album that is far from easy consumption.

Having released their debut single back in 2014, The Heart Attacks scramble their creative ideas together once more to deliver a full-length album by the name of ‘One Beer Left’. In order to get the job done however, a new vocalist was recruited to their ranks by the name of Dusty Dave who applies a rather distinctive touch when it comes to the vocal department. With The Heart Attacks comprising of Lucky Steve (guitar), Dynamite White (blues harp), Rockin’ Bende (drums) and Ray Black (bass), who also served as producer for the record, Dusty Dave is in fine company as all concerned produce a mixture of predominantly raw blues songs. Such descriptions of the band’s sound  are noticeable from the opening blast of harmonica that introduces ‘Candyman Boogie’, and then followed by the rattlin’ rockin’ blues of ‘Ride & Roll’ and solid pace of ‘Good Rockin’ Rhythm’. ‘One Beer Left’ is not all about foot to the floor blues belters though, because there are slower tempos such as ‘Tough Enough’, with Dusty Dave’s vocal sounding more modern and revealing a different side to his vocal capabilities, to the catchy rhythm and reflective vocal of ‘Come Inside’, before ending up at the bottom of the blues barrel, emotionally, with two dark and gritty compositions namely ‘Champion Of The Blues’ and the album’s title track. There is a genuine feel of the entire band ploughing their way through a live set considering the flowing nature of each and every song, which was achieved due to the band performing together in the same room and with the recording being tracked live (Listen to ‘Worried Mind’, for example, which really projects the sentiments of its title). They may only have ‘One Beer Left’, but judging by the passion and musicianship at the centre of this record, Dusty Dave & The Heart Attacks certainly give a good account of themselves via their current record.

Longstanding stalwarts of traditional rhythm and blues, B. B. & The Blues Shacks resurface for their umpteenth album in as many years with ‘Reservation Blues’. By applying their creative hands to a vintage blues sound and, in particular, Chicago Blues, not to mention paying reference to jump and swing influences as well, B. B. & The Blues Shacks line up fourteen new songs of their own making. Starting with the wailing harmonica of the title track, ‘Reservation Blues’, and ending with much Hammond organ via the mid-tempo ‘Why Can’t I Go Home’, the quintet show all their years of experience with detailed observations of life’s ups and downs accompanied by skilled musicianship. Any listener will find themselves up on their feet once the infectious rhythm of ‘Lay Some Shuffle Down’ works its way under the skin, before ‘Mad About You’ weaves an entirely different yet equally compelling spell of soulful vocals that will leave you in awe. Sadly, follow up songs ‘I Can’t Go On’ and too much Hammond for our liking ‘Angry Cat’, and not too dissimilar ‘Honeycomb’ pale in comparison. Fear not as ‘Reservation Blues’ finds its feet once more with the above mentioned Chicago Blues playing its part for ‘Year Of Strife’, and then giving way to more soulful vocals during ‘From Now On’. The tempo slows for the excellent ‘My Time Ain’t Long’ that is full of reflection and lets in the brass instruments. If you’re looking for an album with much depth in terms of its compositions where song narratives are of equal importance to the musical output, then you’ve come to the right blues shack where you will find a reservation under ‘Reservation Blues’.

Returning with fourteen brand new and original compositions is The Margraves and their new long player ‘Primitive Beat’. With this being a sophomore effort, the trio that is Bobby, Mick and Ray Margrave set rich vocal harmonies to driving guitar beats that sound effortless in their executions such is the professionalism of the entire album. This is largely down to experience as The Margraves has built up a following over the years having performed live in various different cities throughout Europe and the US. With the addition of a tenor sax to The Margraves sound, and supplied by Ray Margrave, in addition to (background?) member Mark Margrave pounding away on the drums, the new album immediately whips up a rock ‘n’ roll and late 50’s surf-rock  sound from ‘She Shakes’ to ‘Just Right’ and ‘Not Guilty’. The aforementioned saxophone makes its introduction during the instrumental ‘Guilty’ and reveals another dimension to The Margraves sound, which is used to even greater effect during the moody ‘Desperate Man’. The album’s title track lives up to its name with amusing lyrics mentioning the nightmare scenario of waking up in unfamiliar surroundings and then struggling for a way home played out to a deliberately primitive beat. ‘La Matadora’ injects a touch of the dark stuff in terms of its rhythm, before ending on a catchy number with ‘Black Widow’. It can be said that it’s business as usual with The Margraves and album number two, as the band deliver a highly polished collection of rock ‘n’ roll songs, with a few additional touches that gives their sound added lift.