The Single Life: SBTRKT, Mogwai & More

And so, there was joy unconfined among the enthusiasts with the words ‘Arcade Fire guy solo project’. Said cheering may diminish a notch when it’s explained it’s not that guy, but that other guy over there – you know, that guy’s brother who plays musical saw, pan-pipes, and trombone among other things, and jumps around a lot. This be Will Butler - who’s talented enough in his own right to already have an Academy Award nomination for movie soundtrack work – dipping a toe into the pop pool with Take My Side (Merge), which stomps along in manner not dissimilar to the band that spawned him, with a bit of a rockabilly twinge rather than the bigger combo’s sound of a carousel spinning off its bearings.

But as we fall toward enforced jollity of the holiday season, we welcome back some of our prodigal kiddies. Although Darren Hanlon usually appears this time of year, if only to have a singalong at your local church hall, or under a friend’s Hills Hoist in a sharehouse backyard. But When You Go (Flippin’ Yeah) is actually a precursor to his first proper record in a surprising five-or-so years. All his usual mix of whimsy and melancholy seems intact, to make a certain generation of indie girls want to take him home for pikelets, a cup of tea, and a cuddle on the lounge as they watch an old John Hughes film together.

Meantime, three-and-a-bit years on from their last utterance, and with Patience and John now married and running their own café – ah, the kids grow up so fast these days… – The Grates announce their return with Holiday Home (Death Valley/CreateControl) as an escape from pumping the espresso machine. New drummer Ritchie Daniell makes it almost punkishly rattle along in a suitably caffeine-fuelled manner. Goes all right. Also with new album in new year.

Oh, you want things a little moodier, do you? Perhaps with added zombies? Sure, we can manage that. Alison Mosshart (Kills, Dead Weather, friend of Jack White, etc.) duets with Nashville singer/songwriter Eric Arjes for a song for latest Walking Dead soundtrack. Bad Blood (Republic) is an ideal title for its suitably ominous synth buzz. Frankly, all parties would probably benefit from just letting her hum, or whistle, or do whatever she damn well pleases over the whole next season of undead shenanighans.

Oh, you mean really moody? You probably need Mogwai’s new thing then. Also high on the apt tune-name ratings, Teenage Exorcists (Rock Action) has the venerated Scots making their trademark dense guitar undertows, perhaps the only surprise being its cuts off somewhere under four minutes, rather than maelstroming on for a quarter of an hour.

Still not moody enough? OK, let’s just get angsty and downright oppressive then, shall we? Soundgarden have a three-disc collection of rarities, offcuts, second thoughts, and anything else in the bottom drawer they could dust the lint off, coming to fill your Christmas stocking – perhaps marginally better than a lump of coal. Maybe. This completist’s dream is called Echo Of Miles (maaaaaan...), and Storm (A&M) rumbles in the distance, yells at you a bit, and then stops. As was, and will likely ever will be.

If you’d prefer a bit of mystery, have some American Wrestlers. According to some reports, a semi-famous Scots musician hiding in middle America, or maybe just some guys in a band who’ve found something magical, I Can Do No Wrong (Fat Possum) is so damn right. Should the myths and rumours remain, just have an utter pop gem to enjoy - whoever’s responsible. Back in a couple of minutes, I just have to play it again and dance around the kitchen like a mad thing some more.

Likewise, SBTRKT is still hiding behind his mask but making warm electronica that washes over you. Again he finds the right voice to go with The Light (Young Turks/Remote Control), that being Denai Moore. The good trick being the music is there to complement and cradle the voice rather than impose its personality upon it.

Felicity Groom has a voice as well. One of its best features being how you can never quite categorise it. Sometimes there’s a little country in it. At others, she’s a ’60s chanteuse, then a bit of PJ Harvey grit. Better Days (Spinning Top) will hopefully further broaden her appreciation beyond her Perth hometown.

While Jonathan Wilson’s main credits are still as a producer (Conor Oberst, Father John Misty), his Slide By EP shows he knows a good tune to cover for himself. Then, alongside songs from Arlo Guthrie to Fleetwood Mac, the self-penned title track sits quite comfortably. Before shifting to Los Angeles’ Echo Park, Wilson’s studio used to be in Laurel Canyon - which if you know your ‘70s American musical history, would have been the absolutely ideal place for it.