Back catalogue: Indie/Alternative

Review: The nearly mythical Buckingham Nicks from 1973, featuring Stevie Nicks and Lindsey Buckingham, has gained significant acclaim despite its original obscurity. With no CD or streaming availability, its tracks are typically found only through rare vinyl copies or dubious online rips. Enter Andrew Bird and Madison Cunningham, whose collaborative project, Cunningham Bird, breathes new life into this largely forgotten album. Produced by Mike Viola, this reinterpretation strips away the original's heavy production, showcasing Bird's exquisite violin and Cunningham's smooth vocals. Their shared harmonies replace the tension that characterised the Buckingham-Nicks dynamic, transforming songs like 'Long Distance Winner' into poignant laments. Notably, 'Lola (My Love)' is reimagined as a heartfelt ballad akin to Dolly Parton's 'Jolene', adding depth to the material. Bird and Cunningham's interpretations not only honour the original but also enhance it, proving the songs' flexibility and enduring appeal. Their unique sound and vibrant acoustic instrumentation, offer a fresh perspective for a new generation, making Cunningham Bird a compelling and accessible homage to a classic.

Review: It's often the albums that fall between the cracks that are the greatest. Violin virtuoso and singer Andrew Bird and Americana singer-songwriter Madison Cunningham shine a light on the underrated pre-Fleetwood Mac gem of an album, Buckingham Nicks, by fully covering it. Released five years before Stevie Nicks and Lindsey Buckingham went on to have mega success with Rumours, Buckingham Nicks was such a flop commercially that they were dropped by their label Polydor. But it is a cracking album and in covering it in their own style and having a palpably strong musical connection as a duo themselves, Bird and Cunningham have done it absolute justice and changed it. They have shed the 70s pop sheen of the original and made something more timeless to behold. 'Stephanie' is moody, majestic and cosmic and 'Without A Leg To Stand On' is one of the most stirring vocal performances you'll hear in 2024. A highly rewarding listen throughout.

Review: If you're unfamiliar with Dr Robert, we recommend checking out The Blow Monkeys. Robert Howard, as he's credited, formed the iconic new wave and 'sophisti-pop' group in 1981 and his piano keys, bass notes, guitar melodies, vocals and words define the band's sizeable back catalogue. Matt Deighton, meanwhile, might mean Mother Earth, Bill Fay, or Paul Weller to some listeners. He's been involved with them all. Here, the esteemed UK musicians run into one another on Last Night From Glasgow, a treasure of a patron-funded, not-for-profit label out of Scotland's biggest city. It couldn't be a more credible and thoughtful combination. Musically, the result packs crazy levels of musicality, taking a lead from pop, soft, folk and psyche rock to produce a sound which moves between soaring to understated grandeur to deceptively complex and overtly intimate.

Review: Dr. Robert of British 80s pop hitmakers The Blow Monkeys and British folk icon Matt Deighton (Mother Earth, Bill Fay, Paul Weller) have formed a new duo and release their album on the not-for-profit Last Night From Glasgow label. Their respective histories - writing really accomplished pop songs and performing in bands with some of the best artists in the history of rock n' roll - raise expectations, but they absolutely smash them. The title-track is a beautiful marriage of pastoral psych folk and glam rock, where there's melodies to spare and affecting, deeply soulful timbres at every turn.

Review: These seven tracks of scuzzy, lo-fi indie are ingrained with the sound of London streets. The trio of musicians behind it - guitarist Barrie Cadogan, bassist Lewis Wharton and drummer Malcolm Catto - draw on all their 25-year plus experiences of working in multiple genres to serve up blues and rock collisions, psyched-out indie trips, gauzy, summer of love sonics and breakbeat and jazz fusions. The tracks were recorded with minimal overdubs making for an expansive and all consuming sound where the driving rhythm sections do the heavy lifting while the swirling sonics up top take things to a higher level. It might be deeper and darker than you'd expect of this band, but what else would you expect of a record made during this most weird of years.

Review: Apparently inspired by 1980s computer game soundtracks and the synth-heavy scores to fantasy films, M83's "DSVII" is slated as a sequel to the band's 2007 set "Digital Shades". If so, it's a rather belated one, especially considering the French outfit has released three studio sets and a swathe of soundtracks since then. Regardless, the material here is deliciously evocative, emotion-rich and atmospheric, mirroring the ebb and flow (and peaks and troughs) associated with soundtracks whilst relying entirely on i80s-sounding synthesizers and drum machine hits. It's basically synth-wave, with Symmetry's "Themes From An Imaginary Film" - itself based on music initially intended for the "Drive" soundtrack - being an obvious comparison.

Review: Headed up by Anthony Gonzalez, M83 have taken a winding trip through beautifully sculpted, electronically embellished indie-pop grandeur over the years. Their ninth studio album Fantasy finds Gonzalez taking the process back to a more instinctive, natural flow born out of extended studio jams, reconnecting with his passion after some of the more commercial peaks and creative compromises encountered along the road the band has travelled. As lead single 'Oceans Niagara' attests, the shift in approach hasn't diluted the power and presence of this most life-affirming of groups.

Review: ***B-STOCK: Sleeve damaged & original inner sleeve missing, otherwise in excellent condition***


Deep Psalms from a deep man, Good Deeds Music delivers its fourth release that comes from Roxy Music founding member (and oboe and saxophonist) Andy Mackay. Recorded and performed with a band, choir and string orchestra, the music itself is based on the Book of Psalms and takes in a specialist selection of classical, rock and spoken word with the slightest of electronic influences too. God fearing or not, praise the Lord. Amen.

Review: Moving away from their two-tone tingles and sauntering silliness, 'The Madness' was a thorough rebrand for the band - exploring a new name, a new sound, a rejumbled lineup, and all the new electronic music tech that te late 80s had to offer. Sounding more like Duran Duran than Madness as we know them, 'The Madness' hears a smattering of guest musicians join the party, including The Specials' Jerry Dammers on piano. It was this LP that caused such a furore at the band's Madstock festival in 1992, that a small earthquake erupted at 4.2 on the Richter scale in the London locale of Finsbury Park. Now you can relive said tremors of excitement with this reissue.

Review: Madrugada's The Industrial Silence Tour in 2019 took them to play Live At Rockpalast and the show was captured for this limited edition and one-off album. It comes on turquoise coloured vinyl, housed in a sturdy sleeve with three printed innersleeves. The magical live recording came as the band regrouped to celebrate the 20th anniversary of their much loved and vital debut album Industrial Silence. The show in Germany found them at their very best, fully energy and engaged with the crowd not just musically but emotionally. This release has been put together in collaboration with and supervised by the band themselves.

Review: Magic, Murder and the Weather', Magazine's fourth studio album and their last before reuniting in 2009, remains an essential touchpoint in post-punk history. Originally released in June 1981 by Virgin, the album showcases the band's signature brittle, cold sound, with a sharp production from Martin Hannett that amplifies its eerie, atmospheric vibe. This new pressing, sourced from the 2000 remastered recordings, comes with a photo inner sleeve that includes an insightful interview with John Doyle. Magazine's enduring appeal as a band for connoisseurs is undeniable, frequently cited by those who appreciate their influential and avant-garde approach to music.

Review: Howard Devoto, the architect of Manchester's punk scene, once claimed that Magazine's albums were crafted to endure, a sentiment that resonates in their latest offering, No Thyself. Serving as a long-awaited successor to Magic, Murder and the Weather, this album marked a triumphant return after three decades when it landed in 2011. With Noko on guitar and John 'Stan' White on bass, the band skillfully revives the dynamic essence of their early work. Tracks like 'Do The Meaning' and 'Holy Dotage' deliver the urgent post-punk energy that defined their classics, while the more ornate pieces like 'The Worst Of Progress' showcase their more experimental influences. Devoto's acerbic and darkly humorous lyrics remain sharp, reflecting on aging and mortality in tracks like 'Hello Mister Curtis', where he addresses Ian Curtis and Kurt Cobain with wry candour. Amidst familiar sounds, standout track 'Physics' introduces a new direction with its tender melodies.

Review: Secondhand Daylight is the second album by Magazine, released in March 1979 through Virgin. The album marks a move towards a more atmospheric post-punk sound, with increased use of keyboards and intricate arrangements, offering a distinct departure from their debut. Pressed using the re-masters from 2000, this edition comes with a photo inner sleeve featuring an interview with Howard Devoto. Magazine's influence can be traced in later artists like Radiohead and Morrissey, cementing their status as one of the most innovative and enduring bands in the post-punk era.

Review: Miami-born and raised, synth-pop duo Magdalena Bay relocated to Los Angeles and have been blazing a trail with their self-produced music towards the top of the pop world. To celebrate the beguiling aura of their second album, released in August 2024, there's a limited repress of it in a stunning yet chaotic and artsy clear blue. Stacked with bangers, including the ethereal disco single 'Image' and the cosmic electropop epic 'Death & Romance' - which recalls Destiny's Child as much as it does Jean Michel Jarre - Magdalena Bay are clearly brimming with ideas. That they then know how to package these ideas with a cohesive visual aesthetic helps them hugely on their way and at the pace they're going creatively, there's seemingly a glorious road ahead.

Review: LA-based indie-pop duo Magdalena Bay defy the fleeting nature of online trends with their debut LP, an inviting blend of sonic exploration and visual artistry. Entirely self-produced, the music is a testament to Mica Tenenbaum and Matt Lewin's creative vision, a mesmerising journey through abstract theories of time and the "what ifs" of human existence. Tracks like 'The End' and 'The Beginning' bookend the album with a sense of cyclical wonder, while 'Mercurial World' and 'Hysterical Us' delve into the complexities of identity and perception. With its dreamy melodies, infectious hooks, and thought-provoking lyrics, 'Mercurial World' solidifies Magdalena Bay's status as a force to be reckoned with in the world of indie pop.

Review: 69 Love Songs by The Magnetic Fields is an audacious feat that toes the line between brilliance and sheer audacity. Clocking in at three hours, this magnum opus is a sprawling exploration of love in all its forms. Stephin Merritt and his collaborators craft a diverse sonic landscape, ranging from giddy lust to resignation and despair, and from genre exercises to archetypal Magnetic Fields songs. The album's sheer scale may initially seem daunting, but Merritt's exceptional songwriting and the band's eclectic instrumentation ensure that each track holds its own. The individual songs offermany moments of small epiphanies and emotional resonance. 25 years since it was first released, 69 Love Songs continues to gain new fans and make original ones keep coming back.

Review: Originally released in 2014 and celebrating its ten-year anniversary this year, Cope would serve as the fourth full-length from Atlanta alternative rock outfit Manchester Orchestra. Following on from the breakout success of 2009's Mean Everything To Nothing, and the critical and commercial acclaim awarded to 2011's sombre and expansive Simple Math, primary songwriter Andy Hull sought to restore some of his project's earlier post-hardcore proclivities with this raw, jagged-edged batch of crunching indie-core bangers, all recorded in-house at their (at the time) newly built home-studio. Both self-described as an "unrelenting and unapologetically heavy 38 minutes of rock" and elaborated upon as "Whereas Simple Math was a different palate with each song, a different colour, I wanted this to be black and red the whole time;" utilising their expanded platform and popularity, Cope was the sonic risk necessary to rediscover creative self-fulfilment and deliver some of Manchester Orchestra's darkest, most cathartic, and emotionally charged material to date.

Review: The Valley Of Vision is the latest project by Manchester Orchestra and one that proves they are focused on making music that has a lasting impact. It comes backed with a virtual reality film that immerses you further into their music and deals in broody ambient, indie and cinematic atmospheres. This is a brave project but one this band has pulled off with real aplomb as they put aside their tried and tested instruments and guitar-driven signature sounds to cook up music that goes way beyond what came before and is laden in textural synth craft.

Review: An intense exercise in duality, 'Know Your Enemy' was actually born as a mission by Manic Street Preachers to record two albums in quick succession. 'Solidarity' and 'Door To The River' were simultaneous early-noughties left and right brains, channelling completely different ideas in some ways, and the same ideas in others. Now, the compiled album gets a full restoration, and includes two previously unreleased tracks 'Rosebud' and 'Studies In Paralysis'.

Review: The Welsh rock icons' first new studio album since 2021's The Ultra Vivid Lament Door To The River and - remarkably - their 15th studio album. Recorded at their studio in Newport and the legendary Rockfield Studios in Monmouth, produced by regular collaborators Dave Eringa and Loz Williams and mixed by Caesar Edmunds (Beach House/Suede/Wet Leg), the album captures Manics in their melodic prime. James Dean Bradfield's voice is one of the treasures of modern rock - somehow sounding as fresh and powerful as it did in the 90s. On the single 'Decline & Fall' you can hear the immediacy and synths and guitar sounds coming together like a fireworks display celebrating the opening of a new chapter. We even get, if not quite a diss track then certainly a retort song, to a certain Mr Morrissey in the shape of 'Dear Stephen', in which Nicky Wire concocts an imagined belated reply to a postcard he genuinely received from the Smiths singer back in the 80s. The Manics don't have anything to prove at this stage of their career, but the fact they keep knocking it out of the park is astounding. Long may they keep finding this type of form.

Review: This 15th album from The Manic Street Preachers sits snuggly with all the bands' previous releases. Hints of irony, at times it's anthemic, euphoric, one that's difficult to put down and a collection of music that offers hope and belief yet again that the world can and will become a better place. It's an album bookended by songs with Nicky Wire on lead vocals. On opening (title) track 'Critical Thinking' he tells us "It's OK to not be OK!" and to believe in ourselves. 'Decline and Fall' that follows could be one of the best songs the band have written for years. It reminds us of everything we've always demanded from the band, a rousing chorus ready for airing in large arena's (as do many of the songs on this album) and for a selection of music that may have started a little slowly, 'Brushstrokes of Reunion' continues the comforting audio experience these fifty somethings remain capable of providing after over three decades of their existence. This again boasts another infectious chorus you want to be singing long to after just a single listen. Then we're back with Nicky Wire singing on 'Hiding in Plain Sight', his best vocal performance on the album and 'Dear Stephen', a heartfelt message to Morrissey (but one 'with no moral judgement' according to the writer) inspired by a postcard sent from Morrissey in the early 1980's. The following track 'Being Baptised' boasts a guitar sounding not a million miles away from one Johnie Marr would have put his name to. The second half mirrors the first half dozen songs. 'My Brave Friend' and 'Out Of Time' Revival are certainly songs worthy of being a singles, 'Deleted Scenes' is another arena ready anthem and Late Day Peaks recognisers a decline in the creative industry ("So move indoors, be happy to hide, avert your gaze as the cinemas die") - All vintage Manics material that is just as identifiable as everything the band have provided us with in the past. Final track 'OneManMilitia' is a collection of soundbites that could easily have sat comfortably on Generation Terrorists. It's a great way to wrap up the album. Critical Thinking is an album you won't want to put down after first listen, it's the next chapter of the Manic's story, one that still doesn't feel as though it's about to end and there's nothing on this album gives you the feeling they're not ready to let anyone down just yet.

Review: Philadelphia based emo-tinged indie-punk outfit Mannequin Pussy return with their highly anticipated fourth full-length I Got Heaven. Following on from 2019's critically acclaimed Will Yip-produced Patience, and the 2021 Perfect companion EP, the band have linked up with The Paper Chase's John Congleton (Future Islands, This Will Destroy You, Thrice) to craft their most sonically sprawling yet definitive statement to date. Leaning further than ever into their dream-pop meanderings and shoegazing machinations, whilst simultaneously increasing the fuzz, levelling up the gain and distorting their aggressive edges to nigh-on noise-pop-punk territory, the LP appears set to cement Mannequin Pussy as one of the quintessential voices of the modern emo/indie/alt rock wave.

Review: The March Violets' latest album, Crocodile Promises, marks a strong return for the reformed post-punk band that originally made waves in the early 80s. Now composed of founding members Rosie Garland (vocals) and Tom Ashton (guitar), joined by Mat Thorpe (bass, vocals), the band revisits and evolves their signature sound. The album starts off with 'Hammer the Last Nail,' a track about breaking free from toxic relationships. Garland's vocals blend seamlessly with shimmering guitar riffs, proving the band's chemistry is as strong as ever. 'Bite the Hand,' with its assertive yet measured energy, explores themes of betrayal and ingratitude, while 'Virgin Sheep' offers a rock-driven number with heavy bass and whispered vocals, hinting at deeper metaphors. The slow-burning 'Kraken Awakes' seems to address themes of deceit, subtly building tension throughout. The previously unreleased 'Mortality' finds its place alongside newer tracks, maintaining the album's cohesive feel. 'Crocodile Teeth,' fast-paced and filled with glistening guitar lines, might symbolise controlling relationships, while 'Heading for the Fire' invites introspection with its compelling vocals and mid-song guitar solo. Closing with 'This Way Out,' a hypnotic, pulsing track, Crocodile Promises will resonate with long-time fans while attracting new listeners to their timeless sound.

Review: The sophomore studio album of American indie pop band The Marias, Submarine comes as the sequel to their debut record Cinema, and the trequel to the 'Superclean' EP. Preceded by the lead single 'Run Your Mouth', the album is a representation of solitude and exploration; in the band's own words, the act of choosing to be alone and listening to what the heart needs and not what it wants. The band's preferred mode of representing this visually is cryptic underwater videography; lyrically and sonically, we find ourselves submerged in vats of slick, glossy funk, amid lyrical themes of conflict avoidance and gossip; both serve as effective conduits through which we may find ourselves dancing and reflecting at the same time.

Review: Possessed of one of those 'sing the phone book' voices that could extract gravely gravitas even from the back catalogue of Black Lace if he tried, Mark Lanegan might have been forgiven for resting on his considerable laurels, yet instead he's forged foward across each album with innovation and fortitude both - 'Gargoyle', aided and abetted once again by Rob Marshall and Alain Johannes, expands on the electronic textures and handsome melancholy of 2014's 'Phantom Radio', yet roots them in a bluesy grandeur amidst tales of lost love and redemption. With a lightness of touch balanced out against an effortless charisma of delivery, this is proof positive that Lanegan's gloomy charms render him a talent for the ages.

Review: Grammy-nominated Laura Marling returns with her eighth studio album, Patterns in Repeat. After 15 years and multiple accolades, including Grammy and Mercury nominations and a Brit Award, Marling's latest work reflects on her experiences of motherhood following the birth of her daughter in 2023. The album delves into themes of generational legacy and family dynamic and with its almost entirely acoustic sound, minimal overdubs and subtle orchestral touches, the record is Marling's most focused and refined collection to date. It showcases her evolution as one of her generation's most respected and prolific songwriters.

Review: Laura Marling is back with her eighth studio album Patterns in Repeat. Now eight albums and 15 years into her career, Patterns in Repeat was written following the birth of her daughter in 2023 and finds Laura reflecting on her motherhood experience, as well as more broadly diving deeper into her reckoning with the ideas and behaviours we pass down through family over generations. Dedicated to girlhood, Marling's sense of perspective is noticeable here; we journey with her through the recognition of the 'Patterns' of life (having a child of our own causes us to remember all sorts) as well as the utterable reassurances, such as 'No One's Gonna Love You Like I Can'. Motivic throughout is the sense in which the experience of having children isn't communicable, because Marling herself is lost for words.

Review: Time-honoured guitarist Johnny Marr releases yet another new solo album this winter, 'Fever Dreams Pt. 1-4'. Charting his long and isolated experience of the first COVID lockdowns, this album documents the guitarist's "interior life" away from the spotlight of Modest Mouse, The Smiths or The Cribs. A unique turquoise vinyl houses this promising dark new wave pop bit - its sound preempted by the first part, released last year. In his own words, Marr calls it his "most ambitious solo record".

Review: Johnny Marr's solo debut of 2013, The Messenger showed him channelling his love for classic guitar rock through post-punk dynamics and a sense of urgency apparently abetted by his time spent in Modest Mouse and The Cribs. Keen to establish himself as an artist in his own right rather than a sideman, Payland builds on that album's impact, delivering an impressive salvo of sparky intensity; 'Easy Money' may well be the catchiest and most immediate thing he's committed to wax for decades, whilst elsewhere he brings a chilly frissante to proceedings, seemingly inherited from the like of Wire and Gary Numan. After thirty years of wrenching new inspiration from six strings, it can be a powerful tonic to know that this curiously youthful figurehead is still as restless and driven as ever.

Review: Zak Starkey - The Who's drummer and, as it happens, Ringo Starr's kid - joined ex-Kula Shaker bassist Alonza Bevan and The Smiths legend Johnny Marr for what was a kind of British indie supergroup of sorts, for a brief moment of glory. Boomslang remains the first and only album released by JM and the Healers, landing in 2003 to a rather mixed bag of reviews. Some lauded its musicality, others criticised the frontman's lack of bravery in refusing to move out of comfort zones. Listening back 21 years later, we're not sure what people were looking for and, to be honest, that kind of summarises the post-millennial era. We'd spent a lot and did a lot in the previous century, and it took some time to refocus on the blank page of the next 100 years. For us, Boomslang is a well balanced trip through a variety of very UK guitar sounds, from loose, druggy, vocally-effected bits to bewitchingly quiet folk-tinged stuff and rowdier, fight night scores. To clarify - that's all good.

Review: US art rockers The Mars Volta's latest project reveals an ambitious dual-disc journey, encompassing their sprawling range of experimentation. Early tracks like 'Fin' and 'Reina tormenta' establish a dense atmosphere, full of the band's signature unpredictability, with fluid transitions between moments of stark aggression and delicate, jazz-inflected interludes. The album's progression is marked by tracks such as 'Mictlan' and 'Nefilbata', where intricate rhythms are paired with surreal, often dissonant melodies, evoking the mysticism and chaos of their thematic inspirations. As the second disc kicks off, 'Celaje' and 'Vocifero' provide a cinematic depth, layering intricate percussion with droning, otherworldly synths, shifting the mood into darker territories before 'Mito de los trece cielos' bursts through with frenzied energy. The reprise of 'Cue the Sun' and the closing track, 'Lucro sucio', bring the journey to a close, suggesting a moment of reflection within the album's labyrinthine structure. While the album's tracklist is as labyrinthine as their sound, what stands out is the way The Mars Volta remain resolutely themselvesieffortlessly blending their psychedelic rock heritage with new, complex influences, creating something fresh, while never losing the raw intensity that made their earlier work so iconic. This album feels less like a return and more like a rediscovery of what makes them so vital.

Review: Melanie Martinez has achieved a lot since breaking through in 2015 with her debut album CRY BABY. 2019's K-12 was a landmark project for the then-24-year-old singer-songwriter, and now she returns with her bold, highly anticipated follow-up, PORTALS. With a savvy handle on teasing her projects through her socials, Martinez has drawn her fans into the world of this new album around themes of rebirth, growing embryos and eggs incubating in forests. Ambitious and rigorous in its 360 presentation, this is another step on for one of the most intriguing artists of her generation - the huge impact of the release is absolutely guaranteed.

Review: Fresh indie/slowcore upstarts Mary In The Junkyard haven taken their first steps along a familiar pipeline: first bubbling up as favourites of the iconic Brixton Windmill venue before going on to impress a score of festivals over the course of 2023, their sound is now established: a laconic femme drawl over Slint-esque emo instrumentation, albeit a version of which that transcends words beyond that mere description. 'This Old House' is the band's debut, and brings five night-visioned musings on late-night London domiciles and the moments experienced therein: the band's Clari Freeman-Taylor said of the project: "This Old House is all about the memories that exist in the walls and floors of places, what it feels like to be home and away from it."

Review: The Mary Onettes' album Islands represents a continued exploration into the nostalgic textures of 1980s pop music, with the Swedish quartet delivering a collection that marries synth-heavy melodies with wistful, emotionally charged lyrics. Islands shines with its singles like 'Puzzles,' which captures the album's essence with its spritely keyboard riff and Philip Ekstrom's inviting lyrics. Other highlights include 'Dare,' with its lush string arrangements, and 'The Disappearance of My Youth,' which features a children's choir adding a poignant touch to the nostalgic undercurrent. Overall, Islands offers a beautifully melancholic soundscape that echoes the past as they excel in creating atmospheric songs. Fans of shoegaze, new wave and synth pop are sure to love this band if they have not heard them yet.

Review: What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots and records done with his various other bands (primarily Dinosaur Jr. but also The Fog, Heavy Blanket, Witch, Sweet Apple, and so on), then, to paraphrase Lou Reed, "J's week beats your year." What Do We Do Now began to come together during the waning days of the Pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. The finest set of solo tunes J has yet penned, this is a playful and soft compendium of indie songs revelling in disbelief, uncertainty and community.

Review: When you create a musical legacy like The Beta Band did it can be a blessing and a curse. On the one hand, you'll forever be remembered with a full chapter in the pantheons of popular British music. The opposite of a passing footnote, despite the fact you still rank as a comparatively niche and 'underground' (for want of a better word) group in the grand scheme of things. On the other, there's going to be heaps of expectation on anything you do subsequently, both from yourself and the great, rather unforgiving public. Thankfully, for Steve Mason, he's more than lived up to those expectations across a slew of amazing solo album, both under his name and various guises, and is back to do the same again on Brothers & Sisters. Moreover, his first full length since 2019 might be his best to date, spanning grand maximalist compositions to intimate, slow burn piano simplicity.

Review: Steve Mason is back with a fifth solo studio album and it is another one that finds him tap into new emotional reserves. He manages to subtly fuse themes that are both personal yet political with honest songwriting and vibrant musicianship. This always emotive record uplifts no end with its deeply engaging lyrical motifs. It also features some top guests in the form of Pakistani singer Javed Bashir, British gospel singers Jayando Cole, Keshia Smith, Connie McCall and Adrian Blake and santoor playing from Kaviraj Singh. This version comes on gatefold vinyl with an insert and a download code.

Review: Matisyahu hosts the annual Festival of Light towards the end of the year and it was there on December 22 back in 2022 that this Live in Brooklyn album was recorded. As well as featuring plenty of live takes on his own much-loved gems like 'One Day' and 'King Without A Crown', he also tackles a few tasteful covers that were penned written by his son Laivy, and which they performed in unison. There was also a visual recording of this show made and available to find online, which is well worth doing while you sink into the sounds that came at the end of a 15-stop tour.

Review: Following on from two previous EPs here in 2019 and 2022, Peter Matson now serves up a wonderful full-length on the storied Bastard Jazz. Hotel PM is a psychedelic exploration of disco and modern electronica from the Brooklyn-based musician and co-leader of Underground System. His signature attention to detail, songwriting and world-class musicianship all shine through next to collaborations with the likes of Pahua, Kendra Morris, Toribio, Phenomenal Handclap Band, Sly5thAve and members of The Rapture, Ibibio Sound Machine and Poolside. Between them, they delve into themes of time, memory and disenchantment with modern technology with a mix of lush strings, tight brass and analogue synth basslines. It's a journey of dance floor delight and more introspective moments with plenty of catchy hooks and retro-future charms.

Review: If you're already familiar with Matty then Pops might feel quite jarring at first. In the past, we've been used to the artist opting for pared back, stripped down, and low key sonics - power often found in the breathing space as much as they notes themselves. Clearly something has changed then, because on his latest things have grown in size, in some cases quite dramatically. Opening on the psychedelic-hued 'Around the World', a track that combines trippy effects with high pace rolling energy, from thereon in Pops draws us further into a world where post punk, shoegaze, classic rock 'n' roll, indie pop, no wave and alternative all meet. It's a wild and commanding ride, and one that seems to make one very apt point: Matty is a bonafide treasure more people need to get involved with.

Review: Maximo Park continue to pen their own chapter in the indie rock pantheons, now delivering album number eight and the latest instalment in a saga that began back in 2004. How far have they come in that time? How far did you want them to go in that time? It's impossible to answer the first without answering the second, first, and for many people one of the enduring qualities about the band is their familiarity and commitment to a sound that's been fine tuned and perfected, rather than altered and amended. On Stream of Life this is clear from the outset. As a record, it's pretty timeless in so far as the band's back catalogue goes, but that means there's actually quite a lot going on here. At times, it soars majestically. In other moments it lunges and stomps and jerks on its course to catchiness and sing-a-long longevity.

Review: Lizzy McAlpine's third studio album, Older, is a poignant and emotionally charged collection of fourteen tracks that showcase her remarkable talent as a songwriter and vocalist. Delving into themes of love, loss, and the complexities of growing older, McAlpine's heartfelt lyrics and captivating vocals resonate deeply with listeners. The album opens with the enchanting 'The Elevator,' setting the tone for what's to come with its harmonious melodies and introspective lyrics. From there, McAlpine navigates through the highs and lows of relationships in tracks like 'Come Down Soon' and 'Like It Tends To Do,' where she grapples with insecurity and uncertainty. Throughout Older, McAlpine's songwriting prowess shines as she candidly explores her personal experiences, including the death of her father and her own struggles with mental health. Tracks like 'All Falls Down' and 'March' offer poignant reflections on grief and resilience, while 'Vortex' delivers a powerful climax with its haunting vocals and stirring instrumentation. With each track, McAlpine expertly crafts a sonic landscape that draws listeners in, weaving together lush instrumentals with her emotive voice. From the tender piano chords to the soaring violins, every element of Older feels purposeful and deeply evocative.

Review: McCartney III was the18th solo album by legendary musician and former Beatle Paul McCartney. Imagined is the remix version that came digitally back in April and now lands on vinyl. The artists chosen to remix were all selected by McCartney himself and are said to feature "friends, fans, and brand new acquaintances." The record has picked up plenty of positive reviews already and that should be no surprise given the heavyweights included. The likes of Beck, Khruangbin, Dev Hynes, Ed O'Brien, Damon Albarn, Josh Homme, Anderson .Paak, Robert Del Naja, and Idris Elba all make for a contemporary mix with diverse results.

Review: Now seven albums into a career as a celebrated yet understated singer-songwriter, Cass McCombs occupies a unique promontory - his music remains possessed of a uniquely laid-back charm, influenced by West Coast rock and funk and topped off by his easy-going falsetto, yet his lyrics bite hard, essaying the iniquities and inequalities of the modern era with pithy panache and even earning him comparisons to Samuel Beckett in the process. 'Mangy Love' is the clearest articulation of this dichotomy to date, so it's no surprise that it's also his darkest, most compelling and ambitious to date - the sound of a modern maverick comfortable with his own paradoxes, if not those of the wider world.

Review: The McFerrins are something of a family powerhouse, owing to their being the spawn of the late great Bobby McFerrin: Taylor McFerrin made great waves with greats on labels like Ninja Tune and collaborations with Robert Glasper and Thundercat, but it's time for the man to move over and make way for his as yet underrated sister. Madison McFerrin's debut full-length 'I Hope You Can Forgive Me' lays claim to her slick r&b, jazz and folk fusion, exploring themes of love, self-preservation, fear and healing. Coming to every format from digital to cassette, you can be sure to be made aware of Madison's sensual oeuvre in the coming months.

Review: Vanishing from public view following his 1979 departure from Siouxsie and the Banshees, John McKay spent the 80s in quiet studio sequestration, fulfilling the end of a Polydor contract through a string of angular, post-punk sketches with early Banshees drummer Kenny Morris, bassist Mick Allen and, later, Matthew Seligman and Graham Dowdall. While some of the material aired under the name Zor Gabor - a short-lived live outfit fronted by McKay’s partner Linda Clark - this record instead takes the musician’s given name. A lone single, ‘Tightrope’, crept out in 1987 via Marc Riley’s In Tape; the rest sat dormant until 2024, when McKay’s later wife Laurie helped revive the archive. Now compiled and mastered as Sixes And Sevens, this eleven-track set cracks open a lost chapter, working through a buzzing art rock temperament, juiced on a jackknifing punk rock spirit pulled, pulped, and spread to the edges.

Review: Declan McKenna returns with his third studio album What Happened To The Beach? and he manages to be both ambitious and restrained throughout. It is a hugely personal record that finds him tapping into an all-new creative language that allows him to dissect his sense of self while also encouraging anyone else to take more confidence in their own identities. There are many gorgeous moments here from the subtle brass and loose grooves of 'Mezzanine' to warming choruses on 'Elevator Hum.' They all make for an album that plots a real narrative journey with elements that are familiar to all along the way.

Review: Welsh noise-rock royalty Mclusky make their decrepit return on their majorly anticipated fourth album The World Is Still Here & So Are We, marking their first full-length in over two decades, following on from 2004's The Difference Between Me & You Is That I'm Not On Fire. While the Cardiff legends have reformed for brief reunion runs in the past, this time they seriously mean it, revealing their first taste of new material in 19 years through their 2023 EP Unpopular Parts Of A Pig, with the title-track and 'The Digger You Deep' both announced to be featured on their (at the time) as-of-yet unannounced comeback record. Arriving courtesy of Ipecac Recordings, the outsider-rock label ran by vocal absurdist Mike Patton (Faith No More, Tomahawk, Mr. Bungle) and working in the past with the late, great Steve Albini, with the band even supporting for Shellac one fateful night in London's Scala, the chaotic noise-merchants haven't lost one tooth of their bite or snarky cynicism during their long respite, made abundantly clear on blistering lead single 'Way Of The Exploding Dickhead'.

Review: Oklahoma roots rocker JD McPherson returns with Nite Owls, his much anticipated return, six years in the making, since the thought-to-be unbeatable Christmas album Socks released in 2018, as well as a mid-pandemic covers EP. For this nocturnal turn, McPherson alters his approach, sidelining the majority of the musicians that accompanied him on all previous sessions and live dates, and keeping only guitarist/sax player Doug Corcoran. Along with that change in personnel, comes a revised style that attempts, usually successfully, to incorporate McPherson's Duane Eddy-fashioned guitar (the album is dedicated to the late rockabilly icon who passed in May of this year) with a moderately new-wave infused sound.

Review: Ahora, the new record by Melenas, is the polar opposite a third-album slump. Other bands might suffer from a lack of inspiration typical of such a critical creative moment, but this Spanish quartet reappears more invincible than ever, reassembled with a splendid palette of sounds raising the question: can you make jangle pop and garage rock with synthesizers? The likes of 'K2' and 'Bang' recall a resounding yes; in fact, the glorious throb of analogue keyboards, which dominate the album, do not betray Melenas' sound, and in fact propel it to an ascended pop heaven. Textured vintage synths, such as the Korg Delta or the Yamaha PSR-36, provide and maintain said immediacy, also imprinting a fascinating gamut by stretching the band's sonic identity, a transformation heard not only in the the crystalline pop of '1986', but the sombre, but moving undertones of 'Flor de la Frontera'.