Filling out the dancing shoes is the newest in the series with ‘It’s A Man Down There’. Set to a predominately shifting rhythm and blues tempo and where big band influences and sounds can be heard, not to mention rock ‘n’ roll. ‘It’s A Man Down There’ is certainly from the “Land of the Ravy-Gravy” as given by its press intro and voice Little Victor. There’s so much to be found between the grooves here that will fill the dancefloors whether it’s the rockin’ belter and Little Richard doppelganger in sound ‘Look Out’ supplied by Rockin’ Bradley, to major clue given by its title as to the source of its actual sound of Leon & The Hi Tones ‘Rock ‘N’ Roll In the Groove’. The back-to-back pairing of ‘I’m Gonna Pay You Back Baby’ and ‘No More’ from Bob Rayford and Johnny Fuller respectively ooze with class and speak of revenge, which is equally matched by the big band approach of ‘Bye Bye Bye’ from Doc Palmer. The halfway point of this particular volume in the series tips back and forth between more straight blues (Harvey Hill JR. ‘She Fool Me’) and mid-tempo rockers (‘Baby Shame’, ‘Satisfied With My Lovin’). The standout point and knockout blow of this entire set arrives via Jimmy Anthony and ‘Fore Day In The Morning’ with a vocal that could power the entirety of this album alone. With songs that suggest and certainly depict relationships turning sour, the dancefloor fillers making up this album will lift the gloom in no time and see ‘It’s A Man Down There’ not too down for too much longer.

Boasting twenty-five dancefloor champions, the contents of this latest comp’ from Atomicat certainly lives up to its billing. With the always reliable Werly Fairburn opening proceedings with the country, yet moving into rockabilly category of ‘Speak To Me Baby’ you immediately get the impression you’re in safe hands when it comes to the rest of the album. That’s exactly what transpires as Paul Louise picks up the tempo, albeit lightly, with ‘Don’t Move A Muscle’ and then followed by two charismatic numbers via Buck Griffin and Thumper Jones with ‘Bawlin’ and Squallin’ and ‘How Come It’ respectively. Bobby Marchan brings the rock ‘n’ roll during the excellent ‘You Can’t Stop Her’, only for The Five Keys to reduce the heat somewhat by introducing some doo-wop to the party with their ‘Serve Another Round’. Fear not as the temperature soon rises once again via a succession of rockin’ tracks from the likes of Jim McDonald (‘Let’s Have A Ball), Benny Joy (‘Crash The Party’), Vern Pullens (‘Bop Crazy Baby’) and Gene Summers (‘Straight Skirt’). With something for everyone here, ‘Catfight You Can’t Stop Her!’ will keep any party boppin’ to the very early hours of the morning.

Classy pop music by way of Nova Miller and her latest single ‘Turn Up The Fire’. With her roots firmly set in Sweden, there is a definite Scandinavian feel to the fresh pop sound on offer here. ‘Turn Up The Fire’ possesses a crisp production and is filled with bright electronic beats that really get behind the song’s chorus, and lend weight to the sentiments of love expressed during this current single. With an equally classy video that accompanies the single release; filmed on location in Iceland with breath-taking backdrops and Nova Miller at the centre of this (naturally), there is a definite resilience to this Swedish songstress echoed by the song’s lyrics, in addition to having to brave the cold climate or, more to the point, embracing it! No matter as the passionate tones burning a trail through ‘Turn Up the Fire’ are enough to warm up the coldest of hearts and make one believe that love really can prevail.

Following on from previous singles – the glorious shimmering guitar sounds of ‘L.A. Sunset’, and the equally engaging and upbeat tempo of ‘Midnight Blue’ – Canadian indie psychedelic outfit The Crowleys return with a brand new release ‘Colours Change Their Tone’. The quartet see their creative efforts extend to a full EP, containing a total of six tracks. The first taste of the band’s new record arrives in the form of ‘Pink Rainbows’ that radiates genuine warmth, and where one can visualise a golden sunset via its mellow rhythm generated by acoustic and electric guitars and synths. It’s a beautiful entrance and one that possesses similarities with its neighbouring cousin ‘L.A. Sunset’ where influences can be heard from Cocteau Twins, Delays and MGMT, but with one notable difference where folk pop concludes ‘Pink Rainbows’ journey. Any further pop references can be heard during the ensuing ‘Midnight Blue’, which saunters along at a far breezier pace and offers another dimension via its vocals by means of a vocoder to help give voice to the robotic figure central to the band’s music video that accompanied its earlier release. ‘Stargazer’ has a whiff of more recent composition about it as The Crowleys twist and turn their psychedelic melodies into something possessing a darker tone, and certainly more robust around its edges, largely due to the buzzing and jarring synths propelling the song along. The closing ‘Pansy Party Extravaganza’ sees the band flex their musical muscles as they collectively, and rather skilfully, navigate their way through an instrumental that is almost bleeding in feedback by its conclusion. It looks like The Crowleys has genuinely given meaning to the expression of the title of their latest EP, because there is enough colour and creativity expressed by their beautiful and blissed-out soundscapes, which can investigate darker emotions as well, but there is always a sense of light at the end of their musical ventures and therefore optimism.

A band that falls under the metal, stoner rock and sludge rock categories but crossing the border of indie due to this being a self-released effort (hence our label), Zero Dawn hail from Finland and bring three new tracks to the world labelled under the heading ‘Zero Dawn’. Having set up their stall in 2015, Obscure has gathered enough musical nous to produce a sound that reveals much expertise and undoubted quality. Such experience shines through in abundance during latest EP ‘Zero Dawn’. From the scattergun rhythm of the record’s title track and P. Veteli’s slightly gruff and passionate vocals keeping pace, the rest of the contents of ‘Zero Dawn’ follow in similar footsteps. It’s probably a fair assessment to suggest that the following ‘Low Low Down’ and ‘River’ actually surpass the EP’s opening song in terms of quality, with the former track remaining at a steady beat yet managing to really get under your senses with its steely guitar sound and ditto the vocals once more, whereas the concluding ‘River’ offers a faster tempo yet no more compelling than its preceding number such are the strengths of both tracks. Overall, ‘Zero Dawn’ provides enough evidence to suggest that Obscure has plenty of ideas in their musical locker to pave the way for a full-length album if the desire is there.

Limited to 150 copies is the new album from Benjamin Finger ‘Scale Of Blindness’. The album marks a second outing on Eilean Records for the Norwegian composer, electronic music producer, DJ, photographer and film-maker after the critically well received ‘Pleasurably Lost’ in 2015. With eight tracks mapping out the landscape of ‘Scale Of Blindness’, Benjamin Finger wastes no time in terms of decoding the ideas entrenched inside his mind and crafting these into ambient sounds. What transpires is a gritty and grainy beginning, where lights fizz and stutter and illuminate the surroundings for the briefest of periods as life in general gives way to a feeling of rolling continuously in a dark vacuous space, which is the impression given by openers ‘Halogen Flux’ and ‘Anxiety Blues’. With mere snippets of samples and sounds used, which are then looped into greater reels of sounds, the effects utilised work tremendously during ‘If Memory Preserves’, which offers a brooding tone full of electronic keys humming and tinkling intensely as well as drifting into mere wisps of noise adding to the mystery of the monologue taking place of what sounds like an inquest of one particular tragic incident in the US. The fascination continues with ‘Vagabond Void’ as it emerges into the light, electronics blinking, before breaking and splintering and seeing its particles drift into, and along the fragmented signals emanating from ‘Fragrant Darkness’. It would appear that Benjamin Finger has worked tirelessly to create a wonderful and truly captivating experience that illustrates feelings of loneliness and isolation encompassed by latest album ‘Scale Of Blindness’ that so often throws up shining beacons of light in the bleakest of spaces (‘Vanishing Faces’, ‘Falling Asleep’), to more abrasive creations (‘Fragrant Darkness’) that sound cut adrift and completely lost in the dark void suggested. It’s a masterwork, and it’s called ‘Scale Of Blindness’.