The return of Margaret Berger with the single ‘Apologize’ has been a long time coming after the victory at the Norwegian MGP and consecutive participation at the Eurovision. Add to that list working as a music panellist for television, and cooperation with underground pop trio F A.C.E, and then Margaret Berger’s absence from the music scene gains more explanation. With her own record label in place (Berger / Phonofile), and a collaborative partnership with Adriane Leinsworth and Anders Kjær, the latter of whom produced ‘Apologize’, Berger has lost none of her desire to succeed in a competitive pop environment, but it seems to have come at a personal cost judging by the sentiments expressed throughout this comeback single. Closer examination shows that ‘Apologize’ runs to a slow, moody electronic tempo, and presents an emotionally naked Berger who is not afraid to recognise her own faults as well as addressing the other reasons for the breakdown in question. It’s a rousing comeback in more ways than one from this Norwegian artist, and one not likely to be repeated in terms of the lyrics considering their open nature. The next step in Margaret Berger’s career is definitely one to keep an eye on.

With the formation of this group going as far back as 2010, Beesus, consisting of band members Touis (vocals), Pootchie (guitar), Mutt (bass) and Mudd (drums), held dreams of performing their take on alternative-metal and fuzz rock which inspired them greatly from The Melvins through to Mudhoney. Fast-forward and those early visions have now become a reality, as this Italian four piece is ready with a debut album in hand, which is currently being promoted throughout Europe with a number of live dates. To summarise, ‘The Rise of Beesus’ is described adequately by the band’s vocalist Touis who says, “The name Beesus is a depiction of the human will to create and destroy…” which certainly transmits to the band’s overall sound where songs build themselves up, only to come tumbling back down in a barrage of noise. The title track certainly prescribes to such a theory by steadily opening out, guitars straining, and then followed by a sludge-infested beat that gathers momentum nearing its chaotic end. From such a fine start, Beesus show that they have more than one trick in their musical closet by way of ‘6ft Under Box’ with its mesmerising sonic offshoots and the light waltz of its guitars that eventually run out room due to crashing into to the appropriately named ‘Stonerslam’. With Beesus having recorded this album live at Wolf Recording Studio, the signs are certainly audible during the slower pace of ‘Kusa’ where improvisation has been used in the vocals, and likewise the shift in gear of the instruments during ‘Sonic Doom / Stoner Youth’. ‘The Rise of Beesus’ is a clear indication of a long-held vision that has finally come to life in a mass of drawn out noise full of stoner rock and sludge metal riffs, but one that is willing to experiment with different methods in order to get there. It looks like Beesus has all of the components in place to take this one step further when the next album is ready for production.

Much will be made of the band’s name no doubt, but once you get past the ten minute discussion there is an engaging tune to be heard here with ‘Kill Em With Kindness’. Consisting of largely a pop influence but with references to indie and punk music, Slutface combine the lot to draw the listener in hook, line, and sinker with an irresistible beat that has been championed by the likes of Annie Mac over at BBC Radio 1. With this latest single being the follow up to the previous ‘Shave My Head’ that received radio recognition in the band’s home country of Norway, Slutface look set to add to their growing popularity with the single ‘Kill Em With Kindness’ and  imminent tour of the UK. Look out!

Former Spellemann’s winners, The Cheaters, return to the fray armed with a new single, ‘Diamond Light’, which is taken from the band’s soon-to-be released album, ‘Hooked!’. With the title of The Cheaters’ single being borrowed from the same name for the Diamond Light Source science facility located in Oxfordshire (UK), the energy required to source one of the laser beams in question appears to have transmitted to this three-piece band as the single, ‘Diamond Light’, rattles along at some pace with a pounding backbeat and roaring guitars. Surprisingly, the song never derails considering its anxious energy, but this is the skill at the centre of the band as The Cheaters weave all of the components tightly together and, in the process, give off a memorable indie pop melody. From this corner, the release date for The Cheaters’ ‘Hooked!’ can’t arrive soon enough considering the initial excitement this latest single has generated. Now, to address those Interpol comparisons…

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.