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’.

Recorded live at Charlatan, Ghent, earlier this year, Elefant fill the room with a largely instrumental sound that contains warped guitars, kraut rock, sludge and interestingly, in their words, “nachtwinkel” that translates as night shop for their current EP ‘Nordic Tanzen Am Sonntag’. Opening track ‘Proteus’ is the stuff of late nights, where a nightmarish vision exists via sinister guitars with bouts of distortion, and a backbeat that gives the impression of wading through sludge and making for a very claustrophobic experience. Follow on track, ‘Smithers’, continues along similar lines, only its rhythm is struggling at greater depths with its bass scraping along the bottom yet, despite such adverse conditions, Elefant mange such difficulties by creating an impressive and absolute monster of a rhythm. From these two heavy slabs of instrumentation, the load lessens somewhat during ‘Elefanten’ with the guitars providing direction, yet still fuelling the band’s sound with a creepy element as heard by the skeletal tones of the guitars and additional keyboards. It’s not all about providing a soundtrack, however, as Elefant show that they can do conventional which, by their standards, is still some considerable distance from such a description with the concluding, and frenzied state of ‘Depression’, where instruments intertwine and go into overload with only brief respites via the lead vocal. A real surprise, and one that will take some adjusting to considering its off-kilter approach compared to what’s currently out there, Elefant’s ‘Nordic Tanzen Am Sonntag’ is a welcome addition as well as a welcome relief.

Limited to a mere 150 copies is the new ambient long player from Ruhe with ‘Patriarchs’. Mastered by Ian Hawgood in September this year, the work that is presented is largely a succession of instrumentals designed for the wee small hours that suggests nothing but a lonely, isolated state where the only company that exists are one’s own thoughts. Bleak as that may sound, the song writing crafted is of the highest calibre as it carefully depicts the loneliness by means of instrumentation that is raw and stripped back where you can almost sense the cold creeping in under the doorways or up through the cracks in the floorboards, adding further fuel to the melancholy of this album. Examples of this can be gleaned from the title track, ‘Patriarchs’, which plays out like a forgotten record player with a sustained hiss in the background and its piano accompaniment filling the space of cold empty rooms, only to be momentarily broken by the crackle of a faint voice that sounds equally forgotten and consequently left in time. Fragments of this track seep into the next song, ‘Felled’, with the piano, along with filtered harmonised vocals unearthing the beauty at the bottom of this instrumental in a combined effort towards its conclusion. Speaking of beautiful, ‘Guide’ adds shards of light via its piano melody but is frustratingly cut short midway through, due to changing direction and leaving one to ponder that, in life, you can’t have everything. With this album being a warts and all affair, ‘Shelter’ is probably the closest you will get to experiencing an artist at work where it’s the sound of ideas being tried out for the first time (piano lid closing, stools creaking, shuffling of feet, etc.) and then patched together. With ‘Patriarchs’ expressing an overall sense of solitude, never has such seclusion from the rest of the world sounded so appealing with the fragile compositions making up this album.

From the remnants of Belgian underground trio Hitch, who decided to call it quits back in 2011, Grand Blue Heron emerge with a ten-track album by the name of, don’t get confused here, ‘Hatch’. With the album having been written, recorded, produced and mixed by Grand Blue Heron at Chateau Rocque, which just happens to be owned by the band as well, there is a real sense of Grand Blue Heron merging as one here, both in their creative endeavours and ideas suggested by the detailed pen and ink illustration adorning the album’s exterior. The merging as one reference applies to Grand Blue Heron’s sound for the manner in which their sometimes, near droning and space rock influences threaten to engulf the entire band, such is their dedication to their art with all band members pulling in the same direction and therefore running the risk of becoming drowned in their own sounds. Evidence of this is convincingly served up by the poetic delivery, and intriguingly titled, ‘Gay Is The Lord’, which threatens to overspill during the enthralling ‘Last Song’. Where this album picks up extra attention, however, is for its toying with various influences by creating more direct numbers via ‘Lip Sweat’ that is more about the indie guitars than anything else, yet is most welcome in this set. This diversity extends to the, again, intriguingly named ‘Bodies Of Fire, Suns Of Wax’ where the vocals sound buried deep below a mound of earth, and the band working intensely in order to bring their ideas to fruition, despite the sense of pressure weighing down upon them given by this particular song. Comparisons have been made linking Grand Blue Heron with Motorpsycho, Jesus Lizard, Earth and Neil Young for example, which has a ring of truth once the dusty roots and blues inspired ‘Tin Soldier’, or the tail end of 70’s guitar rock of ‘AddickTed’ opens up. There may have been many who mourned the demise of previous band Hitch, but mourn no longer because Grand Blue Heron and their album ‘Hatch’ are two very good reasons to start believing once more. The much needed indie revival, in its truest sense of the word, definitely begins here.

Rather than idly passing the time away, due to the daily duties of regular band line ups remaining on sabbatical for now, the four band members making up new project, Dead Ahead, decided to get together and lay down some new material. As far as first recorded works go, the decision to pursue this fresh project was indeed a wise one, as all four tracks making up this debut EP are of the highest quality. Such has been the positive reactions to this four-track EP that Dead Ahead is likely to be pondering the next step in this new line up, which could evolve into a full-time project if the band continue along similar lines. So, to the music because it’s generally a gritty, punk rock sound, but one that contains enough melodic segments, set to raw and honest lyrics that often greets the listener. The urgency of opening number ‘Cold Truth’ is one such example of this sound, where a few (personal) realisations are coming to light and publically aired. The noise is more airtight during the caustic tone of ‘Rose Lenses’, where impassioned vocals provide a real edge. There is a fine line between the music Dead Ahead is peddling and the grunge (pop) rock influence of say, Buffalo Tom for example, albeit with a tad more dirt under the fingernails when listening to the former, where the sweet and sour ingredients of pop and punk meet and produce these coarse yet melodic songs. Such an example rears itself on closeout track ‘Exit Letters’ with its crushing confession, “From a time you had a heart” brought to life via the song’s driving rhythm and sometimes dual vocals, seemingly united in their contempt, that really touches a nerve and serves up a clear winner for song of the set. Long may this project continue, as there is only one direction that Dead Ahead should be looking in.