Bellaroush is the name of a seven men and women strong band from Göteborg, who in May released their second album, “Free”. Here it’s about reggae and soul in a lovely mix and it feels quite a bit like a nostalgic trip to the seventies. And it’s a succesful journey with an album that radiates warmth, engagement and joy of playing. Listen here below in a couple of songs.

Bellaroush’s site – on Facebook – on Spotify – on Wimp – on Soundcloud

Next week The Tranq, hailing from Örebro, release their debut album “Loss Is for the Masses”. To show us what they’re up to, they have released a couple of singles from the album, the latest one in August, “Dissident”, and earlier this year “My Heart Is a Yo-You”. It’s two songs characterised by the band’s political engagement and a music style we recognise from their former productions with strong influences from alternative rock from the eighties.

The Tranq’s site  – on Facebook – on Spotify – on Wimp – on Rara – on Soundcloud

Gustav Haggren and his Case Conrad haven’t released anything since the last album “Dew Point” in 2010. It’s seems as they are finally on their way now with a new album, though, and here are a couple of lovely tracks: the studio recorded “LONELYLIGHTLYLOWSHINE” and a live take of the song “Copper Thief” from Barcelona in Summer.

Case Conrad’s site – on Facebook – on Spotify – on Wimp – on Rara – on Soundcloud

Johan Bring, whom I presented the other day with a professor’s title, is also a member of the quartet The State of Floral Beings. They have earlier released two full lengt albums, the last one in 2008, but are now back witha two-track single, “Arusha Control Speaking”. It’s lippy, somewhat punkish electro rock, where I think the the second track “A Real Life With Bran Flakes” is the coolest one. Listen here:

The State of Floral Beings on Facebook – on Spotify – on Soundcloud

Here’s a single from Veronica Keding, “Kärlekens farkost”, a house-inspired pop song in Swedish. What caught me the most in the song was the catchy intro synth figure which comes back in the song later and adds a lot of colour.

Veronica Keding’s site – on Spotify – on Wimp