The mellow-yellow in-lay building the tone, before you even get the chance to open the case.
A horn section blasts, 'Ladies and gentlemen. Let us begin!', joined by a sweet uplift of piano. The scene is set for the album, through reggae stomping opening track, 10/10. The fourth single to be released from Sunny Side Up, a track that has received a brilliant reception. It is the perfect way to kick off the album. The voice himself is back in full force. If you don't get the urge to jump out of your seat, and pull the nearest person into a shoulder swaggering skank, there is something seriously wrong with you.

Smoothness is the name of the game. Seamless connecting track Coming Up Easy, is a gentle roller, allowing the raw, natural depths of Nutini's voice to play alongside the fluent, Stax style bass line effortlessly, climaxing in an explosion of horns and vocal solo power. It is hard to believe that an artist could move from head bopping ska, into laid back, attractive soul so well, but it couldn't have worked out any better.

Taking themselves back to their roots, and grasping onto what made Turin Brakes stir up a fuss in the first place.

Outbursts is a multi-layered recipe for achievement, although obviously dwelling slightly on past successes. This being their first studio album since 2007s Dark on Fire, its fair to say this is a healthy step up.  The mellow storyteller like melodies, wrapped in blankets of anything from bongos to strings, accompanied by familiar claps and crisp double-bass lines, set this album apart. The tones are communicated so clearly, without being bare and lonely. Un-deniably uplifting pathways are laid, connecting each track, but still leaving relaxing dips to breathe it all in.

The teaser for this album that was bestowed upon us is opening track, Sea Change. A clear example of the hard work and promise still expressed by Olly Knights and Gale Paridjanian, the driving power behind Turin Brakes. It sets you off slowly into a world of acoustic retire, but builds up contently with stepping stones of drums and strings, into the thick rich sound that Turin should be known for. This song stands out as the catchiest, and most understandably written, which does make you question its placement in the running order, but nevertheless still plays it’s part.

A Personal peak comes in the form of Paper Heart. By not overcomplicating its communication to the listener, it pulls you onto the raft, letting you float down a sleepy river of piano keys and warm chorus’.

The voices of Olly and Gale intertwine unarguably, complimenting each other, and the music. These vocal connections amplify the build-ups that help these songs raise your spirits.

It is fair to say, that the production on Outbursts, helps to achieve the more interesting atmospheres put into the tracks. Something that could work against them in live performance, but it helps the album make sense, so all power to them.

Outbursts is an essential mood setter. Take the opportunity to enjoy this album, while the sun is very slowly starting to put its hat on, but the evening air still holds its crisp wintry breath.

With Oasis gone, it is only apt that fellow Rock veterans Ocean Colour Scene use this opportunity to release their 9th studio album, Saturday. While new and upcoming bands rely on image to get them noticed, OCS’s longevity and experience in the business allows them to sit back and let the music do the talking.

SMALL TOWN EYES is the debut album from Justin Sandercoe, a man who made his name through You Tube by creating free guitar video sessions that attracted up to 50 million hits. He also taught artists such as Katie Melua and Kathy Dennis, and even toured with Katie on her European dates, quite an impressive resume then. So, in releasing a self penned album of 14 tracks, Justin has decided to turn the spotlight on himself, and become the main attraction, but can he pull it off?

The answer is: not quite. As you would expect, his guitar work is flawless and enchanting at times, but that's about the main attraction. I was a little disappointed with the singing and the variety of  songs on offer. Some are great, others are a little weak and require beefing up with steroids. The overall style is very much acoustic/folk, and no song on the album ever ventures far from that path or offers something radically different. Therefore, if you like one song you will probably like all of them, so it's worth listening to a few if you follow Justin on You Tube and are a fan. Also if you like folk music or acoustic music, artists such as Dylan, Nick Drake, Neil Young or Ryan Adams at times, then SMALL TOWN EYES will entertain.

Opening track FOREVERGREEN begins with a shimmering guitar riff that sounds like the wind rustling through autumn leaves and speaks of finding spirituality through nature, of being helpless in the face of ones fears, and the desolation that modern society brings. It's a lovely piece of songwriting; the drums rumble along gently in the background, the bass quietly keeps the pace, but the vocals are a little flat, and it almost sets the tone for the rest of the album : nice guitar, not so keen on the voice. On songs such as LOVE AND LEVITY, a killer voice could have helped raise a  decent tune into something more; as it is, the song bubbles away nicely, but just fails to take off.

What you cannot take away from this album though, is the inventiveness of guitar playing and the general uplifting, warm vibe created; there are plenty of mellow guitar moments. Highlights include
FROM KATIE'S WINDOW, a lovely finger picked ditty that reminded me of Led Zeppelin when Jimmy Page had discovered Lord of the Rings and Valium at the same time. PAGE 99 again features gorgeous finger pinking guitar work, ' If only you could say those words, and fill my heart with nouns and verbs', and some clever lyrics. INTO THE BLUE starts with more acoustic mellowness,  but gathers pace and morphs into a rousing pop song by the end. PITY THE ROSE also gently meanders until the chorus, when things break out a bit, Justin cuts loose with energetic singing and strumming and lets rip a glistening guitar solo to round things off in the style of Neil Young.

Other high points include IMPERFECT, a track that sees Justin angry and agitated about  contemporary society and the digital age, 'Strip away personality and wash off the mark that was unique, digital makes the perfect art, but zeros and ones don't break my heart.' This song actually really suits his voice and the lyrics are intelligent and honest. There's also some atmospheric harmonica towards the end, I could imagine enjoying this song crouched round a camp fire with some friends. I KNOW is a catchy tune helped along by an energetic, shuffling drum beat, and the addition of an accordion gives it a folksy polish. FALLING NEXT TO YOU starts with guitar, drums, harmonica and reveals itself in time to be a hummable pop number with a cracking chorus, Ryan Adams would have been pleased to have written this.

Songs I didn't enjoy so much were CUTTING OUT, I TURN TO TEL HER, and WASTE THIS. I found them a touch weak and like added extras rather than the main filling. However, they still fit the general ambient, relaxed mood, WASTE THIS in particular has some spacy, warped guitar effects in the background that lowered my blood pressure considerably.

All in all this is a pleasant, relaxing collection of songs performed by a technically gifted guitar player who can write some decent tunes too. If you like his voice then you will definitely like the songs and it's hard not to be charmed by the witty lyrics and honest sentiment. I didn't really get the sense that SMALL TOWN EYES was a coherent album, more a collection of songs that have been put together, but there's enough in here to please the casual listener. The general sentiment is one man with a guitar just saying what he thinks; feeling helpless in the face of comercialisation and the onslaught of technology, and coming to terms with friendships, relationships, himself even. So if you're a fan of Justin on You Tube then I'm sure you will enjoy this, if not, give him a listen, he has some good points to make, and some good tunes.

I’m a bit fed up with all this snow malarkey; to be honest it’s only fun if you’re a kid or a stressed out teacher hoping for a sneaky day off, so what I need is some heart warming music to listen to whilst sitting by the fire and sipping on mulled wine. Thankfully DEMONS AND DOUBTERS, a 5 track EP by singer songwriter Ian Parker has arrived to help me with my cold winter nights, now all I need is a dog to stroke and some fluffy slippers.

Ian Parker is a singer songwriter who signed to German blues label Ruf Records in 2003 after being personally introduced to a US record producer, David Z, who has worked with Prince and Fine Young Cannibals. He now resides back in the UK under the management of Ralph Baker of Equator Music, and recorded this EP at Bath’s famous Riverside studios.

The five songs in this EP are mainly guitar based and Country tinged, there are not a wide variety of instruments on offer, or many surprises thrown in, but as a listener you’re not really expecting that, and too much going on would probably just detract from Ian’s guitar work and voice. The reason why this music is good for late night relaxation listening is because Ian has a gentle, rich, resonant voice, which is suited to the acoustic guitar and creates a mood of contemplation and intimacy.

Those listeners who do not like Country music would be advised to stay away; the actual songs are not conventional Country style, there’s just quite a lot of slide guitar on some tracks that could detract from the listening experience if you’re not into that sort of thing. The best songs are actually the ones that are contain less slide guitar and embellishments, GROW for example just starts with vocals, finger picked guitar, piano, and then flows into a lovely cello led chorus that fills the heart with joy.

First track WINDING RIVER, is a gentle opener, with a catchy chorus and pleasant guitar solo, it sets up the tone of the EP well evoking rustic images of mountains, seas, stars and man battling the elements and himself, ‘Winding river flowing freely across the land, taking with it the heart of every man’. It’s a promising start and a good pop song with strong lyrical and emotional sentiment, ‘Suffering may come our way, the river is long…time will make all things well, the river is long.’

Another stand out track is LOST, which has a Neil Young vibe to it, with shimmering guitars, rasping, grungy vocals, and a super catchy chorus. This track also has some cool harmonica and a rocking guitar solo, and is probably my favourite track on the EP. On this track Ian sounds a bit of a cross between Michael Stipe and Scott Weiland from Stone Temple Pilots, and it’s his best sound, on other songs his voice doesn’t sound quite as powerful.

What is good about the track LOST and GROW is mirrored by what is not so good about some of the other tracks. KEEP ME WALKING has a bit too much of the slide guitar on it and a familiar feel, it’s not a bad song, I’ve just heard it somewhere before. LOVERS AND FRIENDS also feels a bit unoriginal and doesn’t really use Ian’s voice to the best possible effect, It doesn’t really go anywhere as a song, but as always contains meaningful lyrics and good musicianship, and to be fair a fan of Country music will lap it up.

All in all this is a satisfying collection of songs to listen to. Very much self reflective and mature, it will enrich the listener and bring comfort to any cold winter night. With elements of Neil Young, Ryan Adams, Ben Harper, and traditional blues thrown in it should appeal to a wide spectrum of people.

‘Heart and Soul’ is the fifth record from Nelson King; an independent acoustic solo artist who wrote and produced this EP. The album features ten tracks. The first track ‘All The Madmen’ speaks about ‘us’ and ‘them’ in the world and questions perception alongside a beautiful acoustic strum. Nelson voice is relaxed and drags making the track a little more alternative folk. ‘Life’ is the second track on the album and takes a slower pace than the first. The guitars are subtler and so are King’s vocals. The lyrics speak about a surrealist vision of life and how unexpected it can be. Both the acoustic and electric guitar mixed in this track make a great composition. The third track ‘Things You Say’ is a meatier track with a better quality recording of King’s vocals and a predominant electric guitar to and acoustic strum. ‘Mystified’, is the fourth track, a romanticised track about being drawn to someone and captured by someone without knowing why. Once again the track balances an acoustic and electric strum to Nelson’s steady vocals. The fifth track ‘Moment’, takes on a more country acoustic sound. The lyrics speak about enjoying a ‘moment’ at a simple time and a place, something that we usually take for granted.

The sixth track ‘Why’ is a song that sounds like it could be a first single, it’s very generic to a pop/country sound and there are some electronic tones in Nelson’s voice. It’s catchy and the rhythm is very steady. The lyrics are philosophical, full of wonder and intrigue. This is one of the tracks I took an automatic liking to, very easy listening. The seventh track ‘Lonely Spies’ is about desensitisation and being alone, King’s voice is very faint and metaphorical. The sound has a dominant acoustic strum that rarely changes. The eighth track ‘ This Could Be Heaven’ speaks about a life and its unexpected paths, it’s about a relationship that can take many turns. King plays a lot with perception in this song. The guitars are once again layered with a constant acoustic strum to electric rifts. In the ninth track ‘Colour Me’ King’s voice is a little hard to make out over the electric guitar but becomes louder in the chorus. The electric guitar is key in this composition and the acoustic guitar is very subtle. This track is not very clear and hard to get lost in because of the lack of clarity in King’s vocals. The last track ‘For You’ is another reverts to King’s acoustic strumming folk sound. His vocals suit this style better as they are much clearer and his lyrics can be heard and felt. The lyrics are a beautiful dedication to someone, very repetitive but catchy and simple.

The album has a nice acoustic sound that is very relaxing. King writes in a metaphorical tone about life and his experiences. His vocals aren’t very strong but have a light husky tone reminiscent of a folk or more country sound but rarely differ or experiment in any track. The EP is a relaxing monotone album with a consistent sound. If you like acoustic folk with a British country twang and mystified lyrics about everyday life King’s album is perfect.