It has been some time since Canadian Electro-Synth/Punk group Men Without Hats had a new studio album released. Their very last effort, back in 2012 and called Love In The Age Of War had received excellent reviews, something that doesn't surprise those that have known Men Without Hats since the early 80's, at the time that their hit single Safety Dance topped the charts of several countries in the world.

Their band-leader Ivan Doroschuk, who co-founded the album back in 1978, had decided to use wisely the time given by the worldwide pandemic that had stopped the world in its tracks for almost 18 months by focusing on gathering together some new material written in studio or in the back of their tour bus, during their Neverending Tour around the world (prior to Covid19). On top of that, Men Without Hats also decided to dust off some never-before-released songs written back in the 80's from their archive and re-work on them by chopping and adding new parts to them.

It's good to have the Welsh guitarist and singer/songwriter Bedwyr Morgan back on the music scene, through his brand new album called Looking Ahead.

Always an inspired and talented artist all around, Morgan has certainly used the forced pause from the music scene mainly dictated by the pandemic wisely, in the last 18 months or so, to gather together an album that symbolizes the Welsh artist's state of mind about the future and what does the future hold, not only for himself but also for Wales, his native country for which Morgan holds a strong emotional attachment since forever.

It would be a great shame to leave behind, without tributing to it the deserved justice, a record of such strong and powerful musical and lyrical depth, like Break, from the American Singer/Songwriter Pamela Sue Mann.

Released towards the end of 2019 and self-produced by Mann herself, the record released has undoubtedly suffered, as many other hundreds of thousands of records worldwide, of the negative and often tragic knock-on-effect created by the pandemic that has severely hit the whole planet very early in 2020 on many levels, including the music industry.

In these days and age, it is very gratifying for a writer to review a Blues album that encapsulates the original values of the genre so well like Wasted Youth, the brand new album from American singer/songwriter and guitarist Mick Kolassa.

Written largely during the height of the pandemic in 2020, Wasted Youth is a heartwarming, disarmingly sincere and incredibly well structured record in all its aspects, in a year particularly difficult for the veteran American Blues artist, from a personal level.

Moments in the history of the world like this we are all in right now and where we have all been for almost 20 months, have made millions of people realizing not only the importance of living the present in the best way possible every day but also opened up many different kind of fears.

The fear of not being able to do things anymore that we gave for granted, until now and also that of not being able to see people and places we love any longer, because of the new reality we are now living. 

There is something undeniably special, about the contemporary Hard Rock formula brought by Eric Harmon and Dustin Back, aka Reverend Jack, through their debut album called A Mile From Home.

After spending the last 14 months On The Road, prior to the beginning of the pandemic that has hit the whole world, Harmon and Back have been working solidly with some of the biggest names of past and present of Rock'N'Roll, from Foreigner to Jared James Nichols and Crobot, just to mention a few. 

The last 20 months of the history of the world have been and still are, every day, very heavy on all of us, from a mental, physical and social perspective, particularly, on millions of gifted music artists, brutally deprived of their main income and forced to lock their creativity and power of expression behind closed walls.

For one of the most gifted British multi-instrumentalists Blues singer/songwriters of the current generation like Eddie Martin, this has been exactly the kind of life that, regretfully, the British artist had to face, day in, day out.

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