As dreamy, whispery, ethereal pop music goes, the BALLAD OF JOSEPH MERRICK EP from French three piece Alba Lua is about as lovingly realised as things can get. Unearthing hazy memories of bands such as Slowdive, Ride and Lush in their shoe gazing wistfulness, Alba Lua present an understated but beautiful trio of songs here, the charms may take a while to grab hold and things sure aren't obvious from the get-go; but give this release the space to breathe, and the magic soon spreads.

As a debut EP, this is a wonderful stepping off point for Alba Lua, these songs mini epics in their own right, guitars weave spidery webs of reverb heavy wonder, half whispered vocals hang hazily in the summers breeze and drum beats splinter off in ever new directions. Titles like SUNGAZE and VALLEY OF ABRA conjure just the right otherworldly imagery to go along with the dreamlike sounds on offer, whilst title track BALLAD OF JOSEPH MERRICK finds Alba Lua crafting an understated pop melodrama that just manages to get better and more heartwarmingly wonderful with each and every listen, the spirit of early nineties shoegaze permeating each and every guitar stroke and melodic swell.

BALLAD OF JOSEPH MERRICK is a glorious trio of songs that present Alba Lua as an exciting and enticing new prospect on the indie scene, this a debut release both fully realised and wonderful in its own right, yet still packed with enough promise and potential to leave you salivating for just what comes next.

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.

A Swedish folk singer for whom words like bewitching and ethereal seem to have been invented for, Lisa O Piu is the kind of artist who instantly transports you to other worlds the second you hear here whispery voice. On her latest release, BEHIND THE BEND the singer/songwriter delivers a collection of songs about as achingly beautiful and dreamlike as any you've ever heard.

WAS IT THE MOON opens things up in shimmering style, Lisa O Piu in possession of a voice that's hauntingly beautiful, a half whispered croon that puts her somewhere between Vashti Bunyan, Elizabeth Frazer and Bjork. Delivering delicate melodies over gentle guitar arpeggios, harps and violins, Lisa O Piu and her band conjure up a wintery wonderland of ethereal folk that's both eerily spooky and gracefully welcoming.

Songs like DREAMS OF GOATS and WORLD FALLING DOWN may not bring anything particularly new to the mix, but they do offer up further examples of this artists charming world view, further drawing you to an otherworldly place.

GOING FOR HOURS (JUPITER'S UNDER THE MOON) is a more ambient and minimalist take on affairs, echoes of Harold Budd and Brian Eno ringing out; the sparsest of musical sound effects conjured up on an instrumental climax that incapsulates BEHIND THE BEND perfectly.

A dreamlike and beautiful record, BEHIND THE BEND introduces Lisa O Piu in charmingly delightful ways, for bewitching woodland folk that transports you to otherworldly places, this is the record for you.

Ólöf Arnalds has been heralded both as an heir to Bjork, and as Reykjavik’s answer to Kate Bush; but these comments are nothing if not infuriatingly frivolous and painfully lazy.
Like so many acts from Iceland and, indeed, the land of fire and ice itself, Ólöf is incomparable. Her new single Innundir Skinni (7” & download), produced by Kjartan Sveinsson of Sigur Ros, is available from 28th June on One Little Indian and is, in one word, exceptional.

Title track (and the first of the A/B side) ‘Innundir Skinni’ is as assuredly breathtaking as it is waveringly fearful; Ólöf’s towering vocal and technical talent has no sense of ego - at once wilting and commanding, the humble composition offers a sincerity and sense of integrity seldom found in contemporary music.
‘Inuddir…’ is performed in Ólöf’s native tongue but rather than alienating non-speakers it offers a sense of comfort and familiarity which is only futher enhanced by the lo-fi nature of the song. It’s bizarre that without any literal understanding of the lyrics I find myself – just from the swells of the music and the patient ripple of Ólöf’s voice – completely in tune with the song. Thematically that is – musically, I was horribly off key.

This is an A/B release and, while ‘Close My Eyes’ doesn’t quite match up to Innundir Skinni, the B-Side is well worth a mention. First and foremostly, it’s a cover of a song by Cellist and disco artist Arthur Russel but it’s also a lot more – it’s a testament to the talent of this Icelandic folk singer – it’s isn’t the slightest fraction out of place and, had you not heard the original, you wouldn’t know there was any other version. And you wouldn’t care.

In only two tracks this release will welcome you with open arms, tear you in to the smallest of pieces and rebuild you with all the care of someone who loves you. Equal measures heartbreaking and life affirming, it deserves your attention.

Defined by The Troubadour as a ‘powerfully melodic and intelligent, lyrically diverse and thought-provoking singer-songwriter’, great things were to be expected from my first listen of Pete Christie. Thankfully, I wasn’t disappointed. Residing in the Isle of Purbeck near Bournemouth, Christie is a true ambassador of the genres of Folk and Traditional music, writing honest and sincere lyrics which are lost with many of today’s modern singer songwriters.

Ranging from the stripped back beauty of ‘Just a Song’ to the full electric sound of ‘Easy Come, Easy Go’, Christie provides his listeners with a remarkable array of talent across a spectrum of 9 well crafted compositions. Every song features Christie’s signature simplistic guitar playing which lays the foundations for his plain spoken yet powerful lyrics, accompanied by the Band of the Royal British Legion Christchurch and his own backing band.

Inspired by his late mother who suffered from dementia, Christie speaks on his MySpace page of how she addressed him as ‘Frank’ which gave him the inspiration to produce the album. This is, indeed, evident throughout the entirety of the record; the emotion, integrity and sentiment found in each lyric presents his fondness and love for his mother. Certainly, his unique and mature writing style, met with lyrics which hold such depth, present a modern and somewhat ‘cool’ depiction of folk and traditional music; Christie truly is the epitome of what modern folk artists could only aspire to be.

His sincere arrangement of the Bob Dylan classic ‘Not Dark Yet’ clearly shows his sheer versatility as an artist; his individual interpretation illustrates a whole separate musical dimension to him and demonstrates his capabilities as an exceptional guitar player. Despite the open nature of ‘Frank’, the album proves slightly repetitive due to a lack of variety among songs; his pure simplicity, which often works in his favour, creates at times a rather tedious listen and each song is somewhat reminiscent of the last.

Criticisms aside, there is no doubt that Pete Christie has crafted a sheer masterpiece and his latest album proves to be a frank portrayal of an influential era in his life.

Anybody who enjoys earthy-sounding, good old folk music is sure to enjoy this new band from Kent. Although influenced by international folk artists such as The Fleet Foxes, Cocos Lovers have indeed won over their own audiences both nationally and across European borders; they've played their own international gigs; have been hailed “one of Kent's most promising new bands”; have been  the subject of numerous rave reviews – and all this after releasing only two EPs and one album and having only been around since 2008.
Perhaps the harmony that comes from their music is a reflection of the harmonious relationship within this eight piece band. Made up of husbands and wives, brothers and sisters, the sound produced by Cocos Lovers is indeed a family effort!

Each song tells its own story yet each one is linked by a common theme – the way in which the story is told – through softly strummed melodious guitars, harmonious and at times choir-like lyrics, flutes and soft percussion. Changeable beats & melodies throughout which are particularly noticeable in track number three, “Silence of a Moonlit Sky” whose musical arrangement includes violins and a flute. The harmonious and haunting lyrics truly stand out from the ever changing beat, both complimenting each other.

Perhaps the international flavour of Cocos Lovers' music stems from the actuality that is this international album - practically each song was written in, and therefore inspired by, a different European country. And perhaps the life affirming lyrics come from the hearts and minds of people who have truly experienced life - having taken the giant leap into their musical career only to busk their way around Europe - Cocos Lovers seemingly have a lot of experiences to write about!
Whether on tour or on holiday, this musical family never leaves their music behind, taking the time to pen each experience and come up with new tracks.

Cocos Lovers will be performing their latest material throughout 2010 at various locations in the UK, so find them on the web and prepare to be lured in to their world of folk.

A London based band fronted by Maltese raised singer/songwriter Fraser Gregory, Fraser are an outfit dealing in laid back indie rock that takes its cues from the likes of Travis, Damien Rice and Coldplay. Formerly of Rough Trade signings The Beangrowers who enjoyed success in Malta, Fraser are a band formed when Gregory relocated to London and met band mates Stuart Davenport, Josh Bergson and Nick Winters.  Recorded at Temple Studios and produced by David Vella, A GARDEN AT THE TOP OF THE TREE is the band's debut album and one that showcases this outfit's way with a mellow groove and gentle chorus.

Although in essence extremely formulaic and musically over familiar and pedestrian, Fraser are a band that possess a warmth, heart and soul that's hard to fault, injecting each and every song here with enough thought and feeling to ultimately charm and win even the most cynical of hearts.

Songs like RELEASE ME, FIND LOVE and LAY IT ON THE LINE are honest sounding indie pop songs that shimmer like a warm breeze, Fraser Gregory adopts a gentle croon that whilst unassuming and far from unique, is a presence that suits these songs perfectly, shot through with just enough of a sense of longing, searching and delicacy to impress. Launching into satisfying choruses with almost military precision, Gregory tugs at the heartstrings and has you humming along with an innate sense of the gently melodic, echoes of Crowded House ringing out loudly and proudly throughout.

LET IT RAIN and LAUGHTER (EVERYDAY) do nothing to mess with the formula that Fraser have established, further examples of delicate indie rock expertly crafted and polished to perfection, nothing that'll set the world on fire or shift any musical paradigms, but nevertheless songs that wash over you in a gentle wave of heartwarming whimsy.

OLD TREE is a slightly more melancholic sounding entry to the album, stark guitar chords brushing up against the minimalistic patter of drums and Fraser Gregory's hushed croon. With THERE IS A FOREST, Fraser go about briefly channelling the Beatles, mellifluous pop that has definite echoes of the Abbey Road era of that bands lifespan. BOUBOULINA SUNSHINE finds the band continuing in the Beatles-esque vein, Gregory delivering a Lennon like croon whilst sha-la-la backing vocals and bluesy guitar licks pepper the musical landscape.

Climaxing with ALWAYS WITH YOU, Fraser finally unveil a slightly more experimental sounding side to their repertoire, seemingly taking musical cues from Radiohead's Kid A and a smidgen of Sigur Ros, it's refreshing to hear the band attempt something a little more left field however mild the shift ultimately is; more a side step than fully fledged musical shift.

A GARDEN AT THE TOP OF THE TREE is an album that whilst not breaking any musical boundaries or offering anything profound or new, is a collection of songs from Fraser that are gently satisfying and expertly delivered. If you're looking for laid back indie rock that both tugs on the heart strings and delivers a steady supply of gentle pop hooks, A GARDEN AT THE TOP OF THE TREE is a record that will satisfy and charm.

Dreadzone are a band who have been around for a while. They formed in 1993 and signed to Alan McGee’s Creation Records soon after. They scored their one and only top 20 hit with ‘Little Britain’ and also gained a fan in John Peel, who brought them in for a few Peel Sessions, and often mentioned them when talking about his favourite artists. So was the late, great, John Peel right, are they any good?

Songdog consist of award-winning playwright Lyndon Morgan, fellow Welshman Karl Woodward, and Scottish drummer Dave Paterson. Their 2005 album ‘The Time of Summer Lightning’ and 2008’s ‘A Wretched Sinner’s Song’ received some impressive reviews and plays on both Jonathan Ross (Radio 2) and John Kennedy’s (XFM) radio shows. Beyond this, Bruce Springsteen has announced his admiration for the group, having used their track ‘Day of Armageddon’ on his last European tour. All signs thus far are looking promising.