The most remarkable thing about The Misers is how richly American their debut is. Influenced by Creedance Clearwater Revival, Ryan Adams and The Who, the duo who make up the band - Adam Barry and Neil Ivison - have wiped all traces of their Herefordshire roots from debut record, ‘Amplified Life Stories’.
If you like Springsteen, you’ll love this.

Instead of succumbing to the rut-like template of British folk rock, The Misers have allowed their sound to be influenced by much bigger fish across the pond and elsewhere.
‘Amplified Life Stories’ opens with a flurry of Harmonicas in ‘Take Me Down’, which is followed by the anthemic ‘Give It Up For Love’. Neil’s vocals channel all the rasping and throaty heartache of all his famous male predecessors – David Gray, Kelly Jones, Springsteen himself.
Tracks like ‘Shoot the Breeze’ and ‘Spinning’ veer away from the initial Alabama country sound and appear more tender, delicate and folk like.
‘Call Me Anytime’ again boasts an anthemic, sing-along chorus with the emotive lyrics, “I’ve been there before girl/ I know what you’re going through”.
‘The Long Walk Home’ displays some painfully romantic guitar riffs and ‘Lord, Shuffle My Feet’ is a classic country song, designed to be played driving down Route 66 rather than the A38 through Herefordshire.
‘Don’t Let Go (Song for Lee)’ takes the album from Springsteen-inspired 70s into an era dominated by The Who and their trademark keyboard sounds. Although this song stands alone as one of the heavier tracks on the album, it is by far, one of the best.
The album ends with stadium ballad ‘Dead before My Time’; a love song that sounds like a tribute to all the great stadium bands that The Misers adore and hope to emulate.

Overall, ‘Amplified Life Stories’ is a very good album.
It’s muffled, country feel sounds like The Misers have created their very own Wonder Years soundtrack, taking their listeners through a journey that explains the monumental title of the album.
The production is impeccable and Neil and Adam shine through as very talented, well-practised and well-honed musicians. They create a country-folk noise that sounds like Springsteen revitalised; a modern twist on an old great. Towards the end of the album however, the tinny country guitars begin to wear thin and the rock n’ roll epic of ‘Don’t Let Go (Song For Lee)’ just about saves the album. The boys are brilliant musicians capable of making great things but ‘Amplified Life Stories’ falls slightly by sounding slightly repetitive in places.

Portland, Oregon's Blitzen Trapper are a band who've quietly been building quite a repertoire of material over the years. With album number five, the ambitious sounding DESTROYER OF THE VOID they continue to blend Americana genres and styles with giddy abandon, not afraid to experiment, happily combining folk, country, blues and prog rock into one glorious sounding whole.

Opener and title track here, DESTROYER OF THE VOID is a clear indication of what you're in for with Blitzen Trapper, an epic tour de force by the band that sees them throw just about every musical trick they've got into the mix, lurching from Queen style prog operatics to Crosby Stills and Nash harmonious country balladeering to Dylan like folk at random intervals. It's a brave move as your opening gambit, not the most radio friendly or accessible of launches to an album, a clear indication that Blitzen Trapper are a band not afraid to take chances and assault the senses.

BELOW THE HURRICANE and THE MAN WHO WOULD SPEAK TRUE are more settled and relaxed sounding songs, gentle folk numbers that showcase front man Eric Earley's winning way with a lilting harmony, stark guitar work and a lone harmonica letting his voice provide the heart and soul, in the process revealing Earley as a singer/songwriter in the vein of other modern Americana troubadours such as Connor Oberst, Jim James and M. Ward. LOVE AND HATE is a more rocking entry, Blitzen Trapper showing a certain affinity for glam rock amidst the bluesy bluster, a curious blend of T Rex, Roxy Music, Led Zeppelin and The Black Keys; Earley's vocals taking on a definite Marc Bolan twang.

HEAVEN AND EARTH begins in a melodramatic flourish of piano chords before settling into a pop ballad groove hinged around the “heaven and earth” refrain. Subtle orchestral swells and warm guitar work add extra sonic texture and colour, another example of Blitzen Trapper's willingness to blend styles and genres to achieve wonderful results.
Duetting with folk siren Alela Diane on THE TREE, Eric Earley delivers another delicious sounding performance, this time around wearing his Bob Dylan influences the strongest, a stark folk ballad that takes its cues from The Times They Are A Changing, twisting it into something equally delightful. EVENING STAR is a bluesy pop song that feels like one of the album's more radio friendly moments, a clear contender for breakout single from the band. Whilst the more experimental edges have been reined in briefly, Blitzen Trapper feel none the less hampered for it, delivering a tune that puts them alongside bands such as Band Of Horses and Fleet Foxes in the quality Americana category.

Closing with the piano ballad SADIE, Blitzen Trapper climax in suitably rich and textured fashion, Eric Earley adopting an aching croon whilst gentle drum patterns and piano chords clatter, and guitars rise and fall, this a band who continually keep you musically on your toes.

A beautiful sounding record, DESTROYER OF THE VOID finds Blitzen Trapper in the finest of creative forms, effortlessly blending styles and genres, unafraid to pepper everything they do with a brave experimental edge and in the process delivering the best album of their career so far.

A twang, and husky voiced love song. This is the closest you will get to a sweet nothing in your ear from blues stomper, Seasick Steve. Songs For Elisabeth is exactly how a collection of love songs from a past hobo-carnie-busker should sound like. A mixture of elements, culminating in the closest thing to a lovers mix tape that a man with a past like Seasick's could muster.

Making his UK television debut back in 2006, on Jools Holland's 'Annual Hootenanny'. Going on to play more UK festivals in 2007 than any other artist, following this by extensive touring in 2008. With his 2009 release, Man From Another Time, reaching number five in the UK charts. Seasick is an artist that has truly earned his place on the UK music scene.

Although this is a fantastic 7-track collection of Seasick's work, the fact that the only new song you are actually getting is middle weight closing tune, Ready for Love, is definitely a turn off. All the other songs seem to have just been picked from his previous releases because of their 'romantic' relevance. The cover art includes a: 'To' and 'From' section on the inside sleeve, which is a cute idea but at the same time disappointingly cheesy.

An honest, heartfelt description of how a man can feel about a woman comes in the form of tracks Walkin' Man and My Home. The honesty is shown through the mellow tone and simplicity of the lyrics: 'You say jump, I say how high, Exactly you want me to jump to, And you say walk, I will walk, To the end of the line and back to you'.

A duet from Nick Cave is welcomed on track, Just like a King. Slowly tapping into a dark, seductive twang of bent strings and straining vocals. You are left with no question to which area of romance is being described.
A personal favourite track definitely has to be third tune, My Donny. This track is taken from Seasick's Dog House Music long-player. Two minutes and twenty seconds he introduces that something is about to happen; you are not prepared for how dark it gets, sometimes even aggressive. I am not saying this to put you off in the slightest, it is still amazing, a really passionate example of the true grit and energy Seasick Steve puts into his work.

Possibly only a collectors item for a long-time fan, but this EP is a great example of Seasick's work for any first time listener.

Hillbilly Rock. A phrase that sounds so very wrong and yet so freakin’ RIGHT. Hayseed Dixie are back with a new banjo-tastic album, this time a mixture of original songs as well as the covers they are so well known for. Rather than focusing on covering one band like some of their previous releases (AC/DC, Kiss and Mountain Love to name but a few) they have managed to re-interpret a whole host of musical excellence, from Queen, to Black Sabbath and yes, even Mozart. 

It may all sound like a bit of silly fun but while the album provides a very entertaining listen, these guys aren’t just messing around. They are a very talented bunch and take on each massive song they are covering and perform it with believable conviction and gusto. Each track they cover is definitely worth a listen but the true highlight of the album, for myself at least, is their version of The Prodigy’s huge hit ‘Omen’. Their use of quick-paced banjo, sweeping violins and shouty vocals all make for a truly fresh-sounding take on an already great track.

While the cover songs are undoubtedly the best part of the album, the band also offers us up 7 original songs which deserve a little recognition from us. One of the highlights of the album is ‘In The Backyard’, a jaunty, up-beat tune worthy of a good old knees-up (albeit with some dark undertones in the lyrics). Special mention must also go out to ‘Underneath The Bed’ for possibly some of the greatest opening lyrics OF ALL TIME; “Who put that condom in my shoe…?” Who indeed. The album not only offers us a mix of belting cover songs and fun original tracks, the band have also given us a special treat in the form of a bonus DVD. Not only does this include music videos but we are also offered the chance to mess with the audio files and re-mix the tracks…if we are so inclined to do such things. All in all, definitely one to pick up for your next hoe-down.

Thomas Dybdahl is a Norwegian folk singer with a soft tone and acoustic sound. His new single is Cecilila produced by Last Suppa Recordings.

‘Cecilia’ (Ash Howes Radio mix)

This remix by Ash Howes is a little more upbeat than the original and has changed the acoustic folk sounding track to a pop more mainstream sound. The track has an easy listening tone, a steady acoustic strum alongside Thomas’s soft tone.

The track features a repetitive chorus and the lyrics are very metaphorical. They paint a beautiful picture of a girl who is reluctant to love. I prefer the original because is feel that not only does the remix change the sound to a more pop mainstream sound but also take away from Thomas’s soft tone that suits an acoustic tone. His voice is a little lost because the music is much louder. However his voice inviting and has a very subtle beauty.

‘U’

‘U’, is another track from Thomas Dybahl. I prefer this track to ‘Cecilia’, its very soulful. Once again Thomas’s soft tone compliments the subtle composition of a steady drum, keys and horns. The track is a hopeful pouring of his feelings. IS passionate and romantic but not as obvious as a rhythm and blues sound. The composition is beautiful very emotive and uplifting and the lyrics are short but meaningful and very colourful in the sense that they paint a picture. I really like this track; it prefect for easy listening and engages your very subtly.
Thomas has a great unique blend that mixes his soulful voice and the acoustic folk compositions. His lyrics are also very emotive and engaging without too many words.

A collision of blues, soul, gospel and pop clichés; SECOND TIME AROUND is a re release of the debut single from New York singer Nell Bryden, re introducing the pop newcomer with a whimper rather than a bang.

Emerging as an Amy Winehouse, Duffy like figure here, Nell Bryden sings with that expected husky soul croon; injecting about as much life as possible into the song here, it's just unfortunate that SECOND TIME AROUND is a forgettable, bluesy pop affair that fails to leave much of an impression.

Nell Bryden has already proven that with the right material she is someone capable of impressive things, SECOND TIME AROUND is unfortunately not that proof, instead a song that sounds like throwaway fluff that's more parody than the blues, soul and gospel it so desperately strives for.