Song reviews

“Case of the Bends” is a wholesome and reverential take on the solid seventies rock sound that suggests that An Old Friend are the kind of band that should be living on a tour bus. The riffs are present and correct and Damien Biagioni’s vocals indicate that he is perfectly comfortable wearing the leather trousers.

“Holy Ground” is a mainstream, at least in Swedish terms, and intense pop song that, thanks mainly to the distinctive falsetto vocal, makes just enough sonic impact to make you remember that Polar Bear & King is the name of the band.

Melodic Zero 7 style ambient electronic grooving from Holly Tomàs as she takes “Periphery” for a run around the edges of the big city whilst doing some lyrical soul searching. This is the kind of song that seems to work best as the soundtrack to a midnight drive. I like midnight drives.

Here’s a surprise – a hybrid of metal and American manufactured pop sensibilities. Swedish band Amaranthe take every cliché in both of the aforementioned musical playbooks, add in a dash of manic humour that ventures close to parody in the alternating male and female vocals and, remarkably, turn “Drop Dead Cynical” into a song that you might actually want to buy.

More smooth yet fluffy electro pop from Sweden as Moonbabies take their song “Chorus” and float it upon the sugar coated clouds of plastic powered perfection. This will be the soundtrack to a car advert without a doubt.

Can a singer be subtle, sultry and quirky at the same time? It would appear so and Sara Mitra is the proof with her delicious voice dancing over the liquid musical motivations of “In The Pines” as if orchestrated by divine providence. I hear and I worship.

Confident of voice, Susana Silva uses the lyrics of “Be U” to stand tall in the downtown of her contemporaries and, despite a somewhat awkward backing track, her voice shines just as one polished to a purpose should.

“Loch Lights” is another wistful song from Glasgow’s Jamie Flett with his deep folk influences again much to the fore. The musicianship meanders but Mr Flett’s voice remains steadfastly on course for the duration of this song.

Almost irritatingly catchy in its simplicity, “Sussh” has Luna Green stripping it back to the basics and, with her cleverly underplayed vocals adding charm aplenty, the proof is provided that keeping it simple works. Or, rather, that it works for her.

“Cruel Hard World” is, as you might imagine given the title, a redemption song in the classic twelve bar style with motive power provided by the kind of dirty guitar that gives the blues a good name. No surprises therefore but the spirit is undoubtedly strong in this band.

Blessed with an endearingly fragile voice, Ira Wolf takes the cultural purity of folk music and mixes it with Nashville cleanliness yet she still manages to infuse “Fickle Heart” with something deeper, almost as if a transitory sadness of her soul had been captured in words and music. An affecting song.

It may be old school but there is always something to savour in any faithful rendition of the blues style and The Hurt Project, with their song “Up In Smoke”, give us the heartfelt yet still poised vocals of Jasmin Lloyd. There may be twelve bars until dawn but she’ll stay with you all the way. Guaranteed.