The Soft Scent of Gorse and the Sting of the Rose

Ada Lea, Angus and Julia Stone, Everyone Says Hi, Fischer Z, Fontaines DC, Griff Lynch, Hardwick Circus, Infinity Song, Joshua Idehen, Kammahav, The Mistys, The Molotovs, Weezer

Who honestly believes you can have too much of a good thing? Here's the case against.

X-Ray Serenade : Fischer Z

Best for : Celebrating a big anniversary

Fischer Z are 50 years old this year and they want to celebrate. 'X-Ray Serenade' is their gift to fans and, like the best gifts, it's full of surprises. Good ones, thoughtful ones. Not ones where friends and family lurk in a room waiting for you to enter, or strangers leap out of a cake.

This is a gift that comes in three parts. First, there are seven new songs. Secondly, there are four reimaginations of classic Fischer Z songs. And finally, there's a reworking of one of the new songs that's described as an Official Bootleg. The package begs a question. What if they've run out of the good stuff and packed this with the also rans? Have faith. Trust their instincts. This album is full of songs to love that you never knew you wanted.

The original songs are uniformly excellent. If they've dialled down the righteous anger at the state the world, they've replaced it with something that is often clever, funny and memorable. He gets away with mentioning the war as well as raising concerns about climate change in this line from 'Suburban Cowboy'.

"It's the first time Hamburg's hot as this

Since 1945."

In 'Perfect World' he paints a wincingly perfect picture of domestic life, worthy of Ray Davies. The baby delivering trophy wife and the boxer short fiddling gym God husband are there in all their horrible glory. 'Labadabada' has one eye on the world tour that accompanies this album and the singalong happiness it will bring the fans. 'Precious Time' is almost chamber pop with its piano and light percussion. These songs may sound as if they've lost the bitterness of earlier work, but it has been replaced by the feeling of kindness.

The reimagined songs all work well. The original version of 'So Long' may be in my Top 50 favourite songs, so any new version has a lot to live up to. The version here is more expansive, less claustrophobically emotional. It's still a great version, but the original was special. The same treatment with 'Markies' and 'Pretty Paracetamol'works better, particularly in the fade out. Each of the reimaginations soars and, while I'm glad we still have the greater intensity of the originals, they uncover Fischer Z's pop heart.

The big surprise is in the Official Bootleg version of 'Strings'. It's a clever piece of reverse engineering, taking a new song and treating it to sound like something from earlier in his career. It caps an immensely likeable collection of songs.

'X-Ray Serenade' is a wonderful gift from Fischer Z to their loyal fans around the world. Time to get those thank you letters written.

Taster Track : Strings

I Know You're Hurting, Everyone Is Hurting, Everyone Is Trying,You Have Got To Try : Joshua Idehen

Best for : The rhythm and the love

If all you know about Joshua Idehen is his clever and funny take down of political concepts in 'Mum Does The Washing', this album will come as a surprise. If I tell you that this album sets mental heath, selfcare and kindness to music, some of you will feel it's not for you. You're wrong.

Joshua Idehen is a spoken word poet with a love of music and for people. He's also a man who embodies a boundless positivity in everything he thinks and does. I expected his music to appeal to my head. I was left buoyed and uplifted by its effect on my heart.

Think of life's biggest challenges - depression, loneliness, losing a loved one to Alzheimers. Think now of the things that bring you happiness - the innocence of your children, true friendship, music. All of these are covered in 'I Know You're Hurting….' Reaching out is Idehen's raison d'etre and this is one way he achieves contact.

He sets out his belief in 'This Is The Place'. Good feelings come from "the rhythm and the love". His portrait and compassion for people who are lonely or disappearing with age is honest, compassionate and moving. 'Don't Let It Get You Down' is a respite from life's troubles, as restorative as the checkpoint stopover hotels in Race Across The World. He paints great images, like this from 'Brother':

" The most twisted of the pretzels"

'Whatever Comes' shows his strength as a storyteller. If 'Choose Yourself' owes a debt to Trainspotter's 'Choose Life', it's delivered exceptionally well.

Pop can't just be about lyrics and poetry. The right music is needed too, and he's helped with that by Ludvig Parment, a bandmate and Swedish producer. The tone is an updated version of Northern Soul colliding with a burst of melodic and euphoric House. There's a more soulful feel to 'My Love'. Throughout there are echoes of Avalanches' feel good debut album. With the lyrics it's a winning combination.

If life is truly about the rhythm and the love, Joshua Idehen's album is the real deal.

Taster Track : Choose Yourself

Infinity Song : Infinity Song

Best for : Mature radio friendly, satisfying pop.

Infinity Song may be the current face of the American music dream. Like the Beach Boys and the Jackson Five, they're a family concern. They seem to be clean living, brought up in a Christian community which colours their approach without ever taking it over. They're a balanced gender mix and good looking with it, so immediately have wide appeal.

Even better, they have a real feeling for pop's heritage. They're growing up in music and continuing to absorb pop influences. They have the universal pop appeal of Tamla Motown, both the mid sixties sunshine of The Four Tops and The Supremes, but also the late 60s / early 70s darker side of The Temptations and not so little Stevie Wonder. Their songs sound as good on the radio as they are for your hoped for slow dance on Prom Night. There's even some Queen appeal in the synth work of 'All Of My Friends'.

'Michigan' is a surprising opener, more country than soul. It begins as something sparse to showcase the vocals but builds into more of a country rocker. Beyonce may have shown the Country way, Infinity Song are giving a strong demonstration of how it can work. 'Sayonara' brings back the melodic harmonising that made their previous album such a delight. 'One Foot Out' is just one small step away from power pop, while 'Hurricane' is more of a warm, soothing breeze

They haven't clung to youth, but act their age. There are some more troubled, darker tones to 'All Of my Friends' and worries about how to make ends meet when everybody mistakenly thinks you're rich.

What they haven't changed is their sense of togetherness. They still sound like a group of four equal partners. No leader has emerged in the sense of Jacko or Diana Ross to relegate the rest to their backing group. They're all in this together, and that's both their strength and their appeal.

If you think radio friendly pop is too lightweight for you, listen to Infinity Song and think again.

Taster Track : One Foot Out

Situations / Useless Mouths : The Mistys

Best for : Great and classy synth pop

The only infuriating aspect of The Misty's music is that it is familiar without revealing its sources and influences. I wouldn't describe them as a mismatched couple. They have a united vision that combines elements from completely different synth worlds. That's where their appeal lies and it's also why you'll return to their music time and time again.

It's not helped that The Mistys are a band that like to wrong foot their audience. An earlier description of their style by James Catchpole on Fluid Radio called it "the noisy, experimental – and just plain disturbing – frequency that took pop songs to the slaughterhouse." That's a world away from the sound of 'Situations / Useless Mouths'.

The feel of this album is of riding alone in the back seat of an expensive limousine through neon lit streets late at night. You're in a safe space, comfortable in your thoughts while the world outside hints at something more edgy.

Beth Roberts' attractive vocals are as wide eyed as they come, the kind that might be distressed by the sight of an injured butterfly, let alone the carnage of an active slaughterhouse. Andrew Hargreaves' music carries a catchy synth thrum, mildly throbbing but stopping short of menacing. The deliberately off-time pulse of 'Nervous Mirrors' makes for something you could describe as 'accessible glitch music'.

There's a consistent tone set from the opening track 'Double Body'. Is it, perhaps, passionless? Maybe for some. Is it tuneful? Definitely. 'Formation Revision' has unidentifiable echoes of something watchful dressed in new clothing. 'Occurances' has a groove that contains just enough to help you loosen up. 'A Hand Is To Hold' is gently uplifting

It has vocals that you might find in euphoric dance music, or in the sound of Sarah Cracknell on Saint Etienne's poppiest moments. And yet, that doesn't quite capture it. Musically you might find it locked away in Peter Gabriel's sonic safe. It's less heavy than that, but just as quietly brooding and with the occasional potential for menace. Songs carry the clean sounds of Nation of Language and the surprising listenability of newly discovered underground electronica. Steven Wilson, may be the closest touchpoint.

These are songs that live up to their name, misty and a little hazy and obscured. It's an album full of sounds you like, mixed into new and fresh combinations.

Taster Track : Occurances

Blas Melysa'r Mis : Griff Lynch

Best for : Welsh pop, and proving the importance of staying true to your culture.

I've written about Welsh pop a few times over the years. At its best it's passionate, melodic and provides glorious examples of pop at its best. Griff Lynch is a man who adds to that legacy with an outstanding collection of songs.

There's always a slight concern at the outset though, that I may be delving in too deep, as if I'd found myself visiting a quaint English pub and found myself trapped in a corner as locals 'hey nonny nooed' and morris danced their way around the bar. And I'll admit that with the opening track here, 'Gwlad Fy Nyhead' I felt stirrings of mild panic. It's sparse, local and very Welsh.

You got me there Mr Lynch, because the three songs that follow are perfect in every respect, more than capable of winning over the rest of the world to Welsh pop. For English followers 'Cyntaf i'r Felin', 'Fe Lyncod' and 'Dyrna Ni I'r Pant y Rhed y Dwr' may be difficult to pronounce, spell and punctuate, but they are balm to the ears. They are gentle and pretty, with melodies to swoon over and psychedelic flashes to add more than a little interest for those who want something a little less easy on the ears.

The songs are so winning that when he twice chooses to sing in English, it jars. The magic is broken. His voice changes. It sounds a little thinner. The lyrics feel more lightweight, even though the melodies continue to hold up. 'Same Old Show' sounds relatively laboured, even with the help of Manic Street Preachers' James Dean Bradfield. The magical qualities of the album and their spellbinding effect is broken. Lynch stands exposed like Superman in the face of kryptonite, Thor without his hammer or Spiderman opting to live as Peter Parker.

Elsewhere, you are able to rock with 'Blas Melysa'r Mis' and chug into full on celebration mode with'Y Pethau Heb eu Dweud'.Throughout, the strings help you, and the music, to soar.

Lynch has made a collection of songs to stand proud alongside the likes of Carwyn Ellis and Gruff Rhys. Every lover of Welsh pop can be proud of his contribution to Welsh pop.

Taster Track : Fe Lyncod

When I Paint My Masterpiece : Ada Lea

Best for : Classic singer songwriting, a little off the beaten track

Ada Lea is a Canadian singer songwriter who has drawn comparisons to Bob Dylan. That's not always welcome. It can be pressure and a burden. Here though, it's surprisingly helpful because it gets to the core of my thoughts about Ada. and it turns out it's not about her, it's about me.

The thing is, Dylan doesn't have fans. He has disciples and to those followers he's a God. If you don't understand him you'll give him the same wide berth you give the man who proclaims the end of the world on your High Street every Saturday. Ada Lea doesn't provoke anything as extreme as that, but the underlying tension of attraction and avoidance is there.

To take another step in that direction, you could describe Ada as being a magnetic performer. The thing about magnets though is that for every strong attraction there is an equally strong repulsion. She's conversational in her singing, but I found no common ground with her.

For me, the melodies are too subdued to draw me in. They're the hook and without them I have to sense emotion and I simply don't. I promise I tried, but I was left feeling like a tired traveller trying to find their way into a new Air BnB and unable to find the key.

There are times when engagement felt tantalisingly close. This is an album of sixteen songs in 48 minutes. It starts with the pretty, 48 second instrumental 'Death Phase of 2024 (Rainlight)' and follows it with a musical snippet called 'Moon Blossom' establishing this as singer songwriter territory. Even the harmonica features on 'Baby Blue Frigidaire Mini Fridge' (and elsewhere!). 'Something In The Wind' is admirable but not lovable. Her vocals are undeniably assured and pleasant. 'There Is Only One Thing On My Mind' highlights the trait in her music to wander around perimeters rather than take the marked out path. On another day, I'd find that more appealing. There are many of you out there who won't have to wait that long. 'Down Under The Van Horne Overpass' brings everything about her music together.

I wrote earlier that this is more about me than her. It's only fair to provide a second opinion, so here's the 7.3 scoring Pitchfork review. 

https://pitchfork.com/reviews/albums/ada-lea-when-i-paint-my-masterpiece/

Sorry Ada,

Taster Track : Down Under The Van Horne Overpass

EPs and Songs

Angus and Julia Stone, Everyone Says Hi, Fontaines DC

Time for a quick round up of some of the new songs released recently.

Trailing their new album 'Dopamine Chamber', out on 16 October, Fontaines DC have released 'Marianne'. It's good, focusing on electronic work rather than the rock that made their name. That's the thing with Fontaines - they can adopt a variety of musical approaches but they're always identified by the unchanging singing style of Grian Chatten. This has a haunting melody and a brooding rhythm. They're a band that can't stand still. Be grateful for that.

Weezer are one of those well known bands that I've let pass me by, partly because I've often confused them with Wilco. They've been namechecked in song by 'Allo Darlin and become Twee legends even though they have a much rockier sound than that accolade might suggest. '.... Say Yes' is a quiet / loud combination giving you the chance to feel sensitive or mosh out as you wish. Its melody survives after occasionally going missing in action.

It's brave to have a five or six piece band in the current climate. Hardwicke Circus make it work. 'Behind The Lines Of Reason' is energetic, with a big chorus, guitar solo and classic feel. It's almost too perfect, leaving nothing raw in the mix, the equivalent of a photoshopped picture rescued from any blemishes. It's difficult not to be swept away in its rush and I was happy to be in their company with dopamine levels soaring.

You'll find more authenticity grounded in the way things were in Kammahaus' 'Staggering'. It's also laced with unexpected humour and pleasure. It has great reference points - 80s mixtapes, Josef K, The Fire Engines. The list goes on. It doesn't quite take you where you'd expect with sudden rambles along the way, like a newly walking toddler making a new world from their changed perspective of what has become familiar. Fans of The Go-Betweens and The Apartments will love this.

The Molotovs are back with 'Urbia'. They're still following in Paul Weller's footsteps, and they've reached the era of 'Setting Sons'. There's more going on than with the exhilarating back to basics of their debut. There's a little psychedelia in the mix now. It's ambitious and will gain more followers than it loses.

Siblings Angus & Julia Stone have been around for a while, starting as a folk inspired duo before drifting apart onto solo projects. They're recording together again and, on 'The Start', they feel like a perfect pairing. This is a relaxed, mutually supportive song. It's a dreamier sound than of old, less acoustic and more electronically washed. Their interplay entwines you in their world and it is quite lovely.

Finally, Everyone Says Hi are back with 'Life Isn't Perfect'. It has all the characteristics of positive wellbeing and kindness and a catchy chorus. It's the perfect song for Year 10 students who have their future creeping towards them from over the horizon. There are times when this is exactly what you need to hear and other times when you will crave something less smooth, polished and downright nice. In the meantime, treat this as a cuddle from your Mum when you're finding it hard to make your own way in the world.

Hardwick Circus, Kammahav, The Molotovs, Weezer