So much great new music, so little time! Over the last few weeks there has been a delightful deluge of damned good tunes in many styles, forms, shapes, and sizes. By the time we hit October you can usually start to tell how a year is going to be judged and 2019, against many odds, is turning out to be a brammer.

This month we have songs from three of the finest albums of the year, one of the most intriguing and important EPs of any year, a new favourite who feels like an old friend, a local-to-SWH! band who may have released one of the best pop songs for ages, an unexpected and fine cover version, and the return of a national treasure with a tune to break your heart. Strap yourself in – it’s going to get emotional…

We have welcomed Broken Chanter to these pages before but make no apologies for doing so once again, especially as the eagerly awaited self-titled album was released last month. It’s quite simply one of the finest collection of songs this year, (or most years), with David McGregor proving that he is a writer of songs which once heard are not easily forgotten. If the name is familiar then that’s because he was integral to Kid Canaveral for many years, but this album takes his music to another level entirely.

If you want a gauge of the standing in which McGregor is held by his peers then you only need to look at those involved with this album. They include Audrey Tait (The Girl Who Cried Wolf, Hector Bizerk), Gav Prentice (ULTRAS), Jill O’Sullivan (Sparrow and the Workshop, bdy_prts, Jill Lorean), Hannah Shepherd (eagleowl, Withered Hand), Emma Kupa (Mammoth Penguins,) & more. But, for all the talent involved this feels like an intensely personal project, songs which are torn from a life lived, and not always easily. At once expansive yet intimate, it’s a record which marries hard-times to hope, and we could all do with some of that. This is ‘Should We Be Dancing’:

Oblivion & Beyond is the new EP from Distant Voices, the musical project created by Vox Liminis, which is an arts and community organisation working with people involved in all parts of the criminal justice system in the Highlands area. Distant Voices sees some of Scotland’s best songwriters collaborating with people who’ve experienced the criminal justice system in one form or another. On Oblivion & Beyond the songs were co-written by musicians Donna Maciocia, Fiskur, Martha Ffion, Raukarna, and Jill Lorean in workshops which took place in communities and prisons.

The tracks, most of which have a tie to Inverness, are about the rather intangible notion of ‘recovery’ and examines just what that means. It’s a record which is as important as it is excellent, which adds to the current discussion about crime and punishment (see also Fergus McNeill’s Pervasive Punishment project), and once again shows how music and art can aid wider discussion and understanding. This is ‘Autopilot’, featuring Jill Lorean & Lee:

Alasdair Roberts has been in a musical vein of form in recent years that few others could boast, with recent releases including What News with Amble Skuse and David McGuinness, his work with Green Ribbons, and with The Furrow Collective. Undoubtedly a proud serial collaborator, his latest release, The Fiery Margin, is a solo affair (albeit made with a one of the finest bands around), and it is arguably his best yet, bringing all his knowledge and understanding of the traditions of folk music to bare on his songs, but lending them a distinctly contemporary feel, something we have come to expect from Roberts. Nobody does it better. This is ‘False Flesh’:

Future Pilot AKA, aka Sushil K Dade, has long been one of the more experimental and interesting musicians around, and a new album from him is always a cause for celebration. So have a shower, and then phone your brother up, as that’s exactly what we have. Like Alasdair Roberts (above), Dade is a man who loves a collaboration, and his latest, Orkestra Digitalis, lets no one down.

Nine years in the making, it’s an album which was not originally destined for wide release, proposed as a one-off edition in the format of a picnic hamper, but luckily it was decided that we all deserved some nourishment. Featuring Emma Pollock, Ron Sexsmith, Robert Wyatt, R.M. Hubbert, Mairi Campbell, and Mulatu Astatke, this is a record which gives up more of its many secrets with each listen, and you’ll want to do so over and over. From it this is ‘The Art Of Good Breathing’:

New favourite band alert!!! Flying Penguins released their latest single ‘Antimony’, from the EP Bodies & Artefacts, and it swiftly became a firm favourite, reminding me of some of SWH!’s best-loved musicians such as King Creosote, Modern Studies, Lomond Campbell, Admiral Fallow, eagleowl – basically those bands who make classy, affecting, and poignant music which puts you in that state of musical melancholia which feels just right.

It’s rare to discover a band who feel like you’ve been listening to them for years when you haven’t, but that’s how I feel about Flying Penguins – as if they were the soundtrack to a better time, and the memory of that has just come back to me. I’m sure there is a word for that feeling, but before we all rush to find out just what that is – sit back, relax, and enjoy ‘Antimony’:

Ian Smith from Last Night From Glasgow got in touch last month to say that Foundlings had a new single coming out and would I like to hear it. Of course the answer was yes, as he knew full well it would be, but he gave me no further clue as to anything else about it. Imagine my surprise and delight to discover an excellent cover of ‘I Love You All’, a track from the Jon Ronson/ Lenny Abrahamson film Frank, inspired by Ronson’s relationship with Frank Sidebottom, and which has Michael Fassbender on vocals.

How do you approach that? Well, if you’re Foundlings you stay faithful to the original and showcase the song to full effect. If the above paragraph means little to you then press play below. I’m not saying all will become clear, but your life will be notably better. In the name of Frank…

I may have mentioned it before, but Scottish pop music is in fine and rude health, and the final two tracks of this review make that point perfectly. First up are Slouch, a Glasgow band whose single ‘Duplicity’ has had a couple of plays on the SWH! show on LP Radio (news of which soon) and it has been as warmly received as anything played on the show so far. It’s a song which gets its hooks into you early doors and refuses to let go. If John Hughes was still making movies this would be solid soundtrack material, most-likely playing over the closing prom scene as the credits start to roll. ‘Duplicity’ is pure pop and it makes me hugely excited about what Slouch do next. Share the anticip…ation…

When we have our regular end-of-year chats at SWH! (which we record as podcasts – doesn’t everyone?) Bossy Love always receive a mention as one of the best bands around, especially when seen live. By doing what they love to do with no apologies – making R&B inflected pop music which takes their influences and make them all their own – they are a band like no other, and it is little wonder that the devotion they inspire is so strong. Their latest single, ‘Me + U‘, is a winning mixture of strength and vulnerability with Amandah Wilkinson’s unmistakeable vocals never better. Imagine a track Prince wrote for TLC then forgot to send, with all the sadness that entails, and you’ll have some idea as to what you are about to listen to. It’s also the perfect end to this review. This is ‘Me + U’:

That’s all for this month but we’ll be back before you know it with another selection of the best new music around. See you back here soon…