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"The Sacred and the Vulgar is a somewhat loose collection of folk tunes, self indulgent ballads and sparsely recorded pop which runs the gauntlet of influence and emotion."

Artist, musician, filmmaker, are just a few of the things you will discover when trying to learn more about Brad Fielder. This man of many talents seems to lend his hand at anything within the arts, and from that wide spectrum he seems to do a pretty great job on all fields.

The musician persona is the one we will concentrate on here, and having played with the likes of our very own Frost Faire, and the wonderful Anvil Salute, it is clear that Brad has firm grounding in this area ensuring that expectations are high before the play 'button' is pressed.

Fortunately expectations are sure to be met, with a varied collection of tracks that will surely keep the attention from beginning to end. Personal highlights include the title track, along with the glorious "Steal my grace", which prompted a housemate to ask "is that Beirut?", the album ends on the delightful sea-shanty-esque "Saga of Head Sickness", which seems to have more beginnings, middles, and ends, than a regular Olivia Tremor Control track.

In short, this album really delivers.

For those of you who downloaded the first Slothbear EP from October of last year, you will instantly recognise the title track as one of the highlights from that scuzzed out lo-fi pop gem.

So what has changed? A lot. You may remember the story of Slothbear going into the recording studio, recording the EP, and then deciding that it wasn't the sound that they were after - they left the studio, went to the garage, and recorded the EP on a tape deck.

This time around Slothbear returned to the studio, and this time around they were very happy with the outcome. This single is the first from the upcoming "Qids" album.

What is great about this little single is that it shows another side to a band that are already well loved around these parts. "Don't taunt a tiger" was a glorious little track from the EP, hidden away behind the tape fuzz, and the noise you could hear a gorgeous gem to be discovered.

A lot of bands nowadays seem happy to leave those gems untouched, and all credit to them, but it makes you wonder what some of these tracks would sound like when they are dusted off and polished, and Slothbear have done that on this single. Showcasing what amazing songwriting and talent they have in bare bones, glorious 'technicolor'.

The first release of the Elm trilogy (which sounds like a Horror movie marathon in the making), is ForThemFromThem. This album is a very personal one to Adam Loomis as it was inspired by those few special cherished moments with seldom-seen people.

The album is a playful trip that encapsulates Elm's electronic side. This release is definitely an upbeat joyous offering, some tracks verge into the area of indie-dance, whereas other tracks, including the delightful opener "Jamyum" are more at home with some 8-bit references.

A personal favourite is the almost spiritual "Worth it Wounds", a wonderful piece of upbeat electronica that has a touch of Helios about it. This release is the first of three, and will definitely leave the listener excited to hear what is to follow.

Adam Loomis' output is breathtaking, what makes it so impressive is the fact that he can rattle of albums at breakneck speed with no affect to the quality of his work.

Significant Piano Movements is the second album in the Elm trilogy, and this was recorded in one afternoon, in one take, on his fathers piano. Loomis, the eternal perfectionist does say, "There are a few notes that sound like they might not belong, but are you going to be the one to break the news to them?.....poor notes". To my untrained ear I am not sure where these notes are, perhaps they have managed to wriggle their way in with the rest to blend in with the peaceful aura that this release exudes.

A simple afternoon sat in front of a piano can produce some wonderful things, if you don't believe that then give this release a listen.

Cloud Burst is the final release from this trilogy from Elm, and it is one that Adam Loomis is most pleased with. If "ForThemFromThem" showed his playful electronic side, and "Significant Piano Movements" showed his thoughtful pianist persona, then "Cloud Burst" is the one that gels Elm all together.

Complete with vocals, electronic sequences, guitar, violin, and more, this release is a very exciting one in terms of where Elm has come from and where he is heading to. Adam took a new approach to this album with regards to lyrics, recording and instrumentation, and so it shows a brave willingness to explore the new, as well a great regard and respect to what lies in the past.

There is something for everybody on this album. "Don't you see?" is a monster track with piano leading the way, and a fierce drum pattern and heavenly vocal to add those extra layers that you will crave. "Unwind your heart" is a track that many indie dance bands would be happy to add to their setlist, and the acoustic "Here in my heart" ends off this trilogy in fine fashion.

The trilogy ends. Thank you Elm for showing us all of your musical layers.

Writing a review to "In the Labratory of a Nationally Known Scientist" is perhaps one of the trickiest things that I've had to do in my time at Rack & Ruin records. Jotting down notes to try and describe the music I have come up with "Mort Garson type moog music", "Cher", "James Bond movie theme", "80s style Debbie Gibson intro", "Lounge Music that Simon Cowell would probably say he hated", and "The Brat Pack movie theme catalogue". Individually these snippets probably write the review more than fully composed sentences ever could.

Zach Gresser is someone who certainly does not seem to conform to current movements, and is one who frankly will never follow the crowds of fashion - intent on doing what he does. Experimental pop? Straight-up pop? or just simply glorious Cher-moog-bond-themes? I'll let you decide on that.

Woodland Heights' sophomore LP has gone through many changes: once planned to be a straight electro-pop record, it evolved into a mostly acoustic affair drenched in meditations on death after a potentially fatal car accident frontman Evan Benoit was involved in [which sent two of his friends to the hospital (everyone ended up being fine, thank goodness!]). But what ended up transpiring lies in these 10 tracks - a mix of synths, acoustic guitars, atmospheric noise and electric rhythms that flourish and grow throughout the length of Famous Last Words.

Famous Last Words is a mediation on control. From the fuck-it-all one-take track "I Remember" to the ramshackle wholly improvised closer "First Time in a Long Time", Benoit finds himself loosening vocal control and letting whatever leaves his mouth come out and stay out. On the other end of the spectrum lay catchy pop songs like "Perfect Strangers" and "Votive" which showcase tighter rhythm and vocal performances from Benoit.

And keep a lookout in the new year because Woodland Heights has several big things in the pipe-line including a music video, a Famous Last Words appendix EP and an experimental concept album based on a nuclear holocaust entitled World War Whatever.

Olivine (aka Hungry Owl) is a fascinating creature, where many of her peers must be bootyshaking over the latest Beyonce, or reminiscing about when Eminem was huge, Olivine seems to look way beyond those heady days of the early 00's. On her latest EP (also recorded in September, at the same time as the Travelling Man EP), it is clear to see her inspiration lies elsewhere.

On a previous email conversation I remember telling her that her country folk tinged music reminded me of southern US folk from Leadbelly days... although I'm happy that I made that comment, I have to say that this EP reminds me more of the 50s than the 30s!

The opening two tracks "Sugar Fix" and "Coffee & Pie (Put it in my mouth)" sound like they could both feature happily on black and white television commercials selling the housewives of yesteryear these new sweet delights.

Olivine's delightful tone, sweet harmony loops, and delicate strumming continue in quickfire succession throughout these delicious 7 minutes, all recorded during breaks at home, as she couldn't really make music in her dorm. Within the EP contain two cover versions, one by Kath Bloom, and one by Kate (mother of Rufus and Martha) & Anna McGarrigle.

In "Hearse Road Trip", Aidan Wall has laid the porn.exe moniker to rest, and finds himself ressurected under the name, Hipster Youth. This is more than just a name change though, the familiar porn.exe electronica remains, but hand in hand we are introduced to some wonderful vocalisations which add an extra layer to these already breathtaking tracks.

Making upbeat dancey electronica, with a very dark undertone is no mean feat - when listening to "Super Fun Hipster Suicide Party", you don't know if you should be stood in the corner of a room, cross armed, and nodding along - or if you should be sat in a corner, downtrodden, and deflated.

The upbeat sounds are naturally always at the forefront, but there is definite elements of a dark undercurrent that is going on here. So putting my junior psychology aside, let's talk more about the music - expect some catchy Nintendo (TM) type game music, mixed in with some heavy distortion (especially on the excellent Thursday Nights), this is a rebirth that you don't want to miss out on.

It's that time of year again, the time when the festive cheer is spread all around, and we close another wonderful year of releases with a collection of Rack & Ruin artists (and friends).

This years collection was once again brought to you by Bobby Aherne, aka No Monster Club, aka the artist formerly known as Dublin Duck Dispensary. With him this year he brings together the likes of Canada's finest pop star (in the making), The Macadamia Brothers, the future of shoegaze and other distortion related genres, Lean Horse Marathon, the beautiful pop sensibilities of Frost Faire, and a Bowie-like super smooth Brad Fielder at his retro finest.

Joining the selection this year, are the excellent "There Will Be Fireworks", which closes the album, and indeed this years Rack & Ruin releases with the epic "In Excelsis Deo". Naturally, it wouldn't be Christmas without a new one from Mr. Aherne, and so you will also be delighted to hear his new project.

Special thanks to Hollie Leddy Flood for the festive xmas artwork. Merry Christmas, happy holidays, etc. etc. to one and all - thanks for all of your support in 2009, and your future support into the new decade!