Review: Second time around for eccentric Sheffield trio The All Seeing I's sole full-length excursion, 1999's Pickled Eggs & Sherbert, which here lands on vinyl for the first time.The album, a celebration of Steel City creativity featuring cameos from Cocker, Tony Christie, Babybird and the Human League's Phil Oakey, is best remembered for hit singles 'The Beat Goes On', 'Walk Like a Panther' - lyrics reportedly penned by Jarvis Cocker - and 'The First Man in Space', but there are plenty more highlights amongst the unique blends of fractured dancehall rhythms, redlined electronica, oddball easy listening references, experimental d&b rhythms and genuine leftfield pop nous. For proof, check out blissful acapella number 'No Return' (where Lisa Millett plays a starring role), the breathless, bass-heavy house of 'Sweet Music', the weighty madness of 'I Walk' and the exotica-goes-big beat flex of 'Happy Birthday Nicola'.
Review: Pink Elephant is Arcade Fire's first album since 2022's We, and it serves as a compact and cathartic return that is defined by its sense of reflection and emotional recalibration. It has been co-produced by Daniel Lanois and leans into intimate textures and moving drums with standout tracks like 'Year of the Snake' and 'Ride or Die', evoking both earnest self-examination and communal uplift. Elsewhere, there is the hypnotic 'Circle of Trust' and haunting title track, which showcase the band's ability to mix grandeur with vulnerability and means that this is a work that again cements Arcade Fire's reputation as one of indie's finest.
Review: "I'd prefer it to be called just a country album," said TORRES of her collaboration with Baker, nearly a decade in the making, "but I'm proud to have made a 'queer country' album." TORRES had the initial idea to turn to the genre, inviting Baker to collaborate not only because of her shared southern roots but also because she'd also had a similarly religious upbringing that ultimately saw sexual orientation judged and condemned. The result is some deeply autobiographic songwriting on tracks like 'Tuesday', about a traditional family's rage at discovering their daughter was gay, the lilting 'Sylvia' and 'Sugar In The Tank', with pedal steel meeting acoustic guitar strum and very intimate sounding vocals. Bound to cause controversy in certain areas of the US, but it's got the quality and distinctive flavour to stand its ground.
Review: This is the seventh album by chamber pop titans Beirut. The group, who are led by Zach Condon, have created their largest album to-date and it's among their most profoundly beautiful. The music originated in 2023 when a contemporary circus director, based in Sweden, who was creating a show based on an adaptation of a novel by German author Judith Schalansky about loss and impermanence asked Condon to write music. And who better than Beirut to score that theme. Condon's vocals are starkly beautiful with the tenderness of early choir music. The track 'Caspian Tiger' is among the most cinematic of the tracks on here with resplendent Renaissance influences and direct lyrics that are tear jerking and feel genuinely moved by the extinction of the great mammal, but could so easily be about a close friend lost.
Review: The Birthday Massacre, hailing from Canada, command a bracing gothic blend of 80s electronica and aggressive guitar work. Formed in 2000 as Imagica, the band is led by vocalist Chibi and guitarists Rainbow and Michael Falcore. They debuted in London, Ontario, before moving to Toronto and rebranding, with the 2002 self-released Nothing and Nowhere inducting us into their horror-comedic sonic aesthetic, drawing on macabre cabaret and Grande-Guignol rock. Though little light but fan speculation has been shed on their new album Pathways, this purple detour has sparked rumours of a fresh direction and stylistic tangent for the band, coming helmed up by the pre-released streamer single 'Sleep Tonight', lighting up oneiric stadia worldwide with their mega-metal shreds and huge electronica arrangements.
Review: Over the past three years, Bo Rande and Tobias Wilner of Blue Foundation have shaped Close to the Knife into a mesmerising blend of dream pop, shoegaze and experimental electronics. The album deepens their signature atmospheric style with haunting vocals from Wilner and Nina Larsen plus guest appearances by Scarlet Rae, Helena Gao and Sonya Kitchell. Lush and melancholic in the extreme, the music evokes an introspective mood reminiscent of greats like The Fall. Contributions from Wang Wen's Xie Yugang and drummer Federico Ughi add richness to this deeply emotional and intricately produced journey through sound and feeling.
Review: The original album artwork, designed by Tony Hung, features an ice cream in neon lights against a black background. For this special edition, Hung has reimagined the design, adding gold foil and embossed details. It's a beautiful reworking that goes well with the gold disc and shows a deeper connection to the music. The audio has been spruced up using a technique that is the holy grail of vinyl cutting. And in terms of the music, you might consider the tracks more deep cuts as they don't tend to decorate their live sets. But that ought to change as there's moments of pure genius. To name a couple: 'Lonesome Street' could have made any of Bowie's albums. And 'There Are Too Many of Us' sees Albarn dabble in Roger Waters-esque observations beautifully. Time has been very kind to The Magic Whip as it's aging really well.
Garden Waltz (feat Carinne & Francesco Como) (4:09)
Oui Got Now (feat Liquid & Stephane Moraille) (3:01)
Drop Off (feat Coco Thompson) (3:32)
You (feat Francesca Como & Malicious) (2:30)
You Too (feat Jahsepta) (3:32)
Grace (Love On The Block) (3:00)
Cowboy Hoot (feat Liquid) (1:51)
Jahrusalem (feat EP Bergen, Dorian & Sidaffa Bakel) (3:26)
World Party (feat Steeve Khe, Liquid & Jahsepta) (5:06)
This Day (feat Ben Wilkins) (3:17)
La Dolce Vita (feat Freddie James) (5:37)
Journey (feat Helena Nash, Jahsepta & Kim Bignham) (5:56)
Stillness (feat Rafaelle MacKay Smith & Alexandre Desilets) (4:23)
Saltwater Cats (feat Kim Neundorf & Malicious) (6:43)
Review: Bran Van 3000's The Garden is their fourth studio album and another subtle evolution of their signature genre-blending sound. Rooted in prog-rock grooves and boogie flair, the album explores romantic and reflective territory without losing the collective's playful spirit. On the album, which arrives as a special for this year's Record Store Day, James Di Salvio is joined by longtime collaborators and fresh talent alike to create a lush collaborative soundscape that's rich in emotion and rhythm. The tracks all exude soulful vocals, brass-laced arrangements and global sonic textures, which help to make The Garden is a mature yet adventurous chapter in BV3's musical journey.
Review: Longtime Matador records signee and frontman with Leesburg, Virginia's Car Seat Headrest outfit, Will Toldedo is fortunate to have spent the bulk of his adult life releasing records and is a true artist and craftsman. The lead single 'The Catastrophe' is a massive sounding indie number that nods to the adrenaline of noughties indie and the intensity of prog and punk. 'CCF (I'm Gonna Stay With You)' shows a more experimental side with the bonkers first part giving way to heartland rock that Bruce Springsteen would be proud to call his own. This is - remarkably - the 13th studio album by this band, which make it close to an album a year since their formation. The wind is truly in their sails here and the chances of their prolific output slowing anytime soon are thankfully very slim.
Review: It's no wonder there's a nu-gaze movement bubbling up at the moment and showing no sign of dying down - the quality of the godfathers of the genre is just staggering. And you can count Chapterhouse as a key component of the transcendental and viscerally thrilling first wave of shoegaze. This collection features four songs that the Reading-based band recorded in January 1989 - including one that has never been released before. The track in question, 'See That Girl', is as good as any of the more direct songs that bands in their scene released in the 90s. It's their equivalent of Ride's 'Vapour Trail' and strong enough in and of itself to warrant getting the whole EP.
Review: Primarily known for his sprawling LA-based psych/garage/punk/all of the above work as Osees aka Thee Oh Sees aka Oh Sees, John Dwyer links up with experienced percussionist Dave Barbarossa (Fine Young Cannibals, Adam & The Ants) for the retro bratty glam-punk experience of the year - Chime Oblivion. Their self-titled debut is packed full of squelchy synths, jagged minimalist guitar lines and high-pitched eccentric vocals, paying clear homage to classic acts such as The Slits and Bow Wow Wow. Chock full of bite-sized bangers including 'Neighbourhood Dog' and 'Kiss Her Or Be Her', both of which scoff at the notion of a three-minute track, this is retrofitted throwback dance-punk in the stylised era before it even had such a moniker.
Review: Marking its 40th anniversary with a special new remaster, The Colour Field's seminal Virgins and Philistines by returns and shows a whole new generation why the band's sophisticated blend of new wave, pop, and introspective songwriting made such a mark, Originally released in 1985 and fronted by former Specials and Fun Boy Three vocalist Terry Hall, the album features standout tracks like the UK Top 20 hit 'Thinking of You', which alongside the rest of the originals have been taken from the original tape. However this edition also includes a bonus disc with early singles and B-sides appearing on vinyl for the first time making it a must-cop for '80s alternative pop fans.
Review: Counting Crows' sequent 2021's Butter Miracle: Suite One with The Complete Sweets! Now expanding on the themes of its predecessor, the record hears all four tracks from Suite One alongside five new songs, blending this heartsick Berkeley, CA band's signature storytelling with sweeping melodies and raw emotion. Leading the charge is 'Spaceman In Tulsa', a striking single that not only marks their first new music in nearly five years, but appropriately concerns itself with the theme of metamorphosis - "the way music breaks down who we were and spins us into something new. It's about broken lives becoming something better," in the words of frontman Adam Duritz. The record coincides with a fresh tour kicking off in Nashville in Spring 2025, with stops across North America and Europe.
Review: Charles Rowell stops off for another release under his Crush Of Souls moniker, hammering yet another gothic sonic nail in the coffin. Recorded at the aptly named Catacomb Soul studios, where he had recently finished recording the antecedent release '(A)Void Love', Rowell's latest LP is dedicated to the French capital city Paris, but we've a sense that *his* Paris isn't *our* Paris. There are of course catacombs in Paris, subjacent to the metropolis' surface romances. With the LP's title punning on French words for "lizard" and "desire", a lustily unnerving synthpop record unfolds, and this is one mood requiring only the slightest touch of grimness to evoke: such as pitchy, drawled vocals on the otherwise glittery and well-rounded 'Cult Of Two', and eighteenth note tenebrae on 'No Soul', serving to bury an otherwise melodic tune in hollow chaos.
Review: In 1995, Portland hipsters The Dandy Warhols made tentative steps towards gatecrashing the mainstream by signing a major record deal with Capitol Records after their indie debut Dandys Rule OK caught their attention. But it wasn't until this album, their second on a major label though, that things really started to kick off for the Courtney Taylor-Talor fronted icons. And it's easy to see why it was such a hit, Dandys could conjure pure beauty with their psychedelic indie pop melodies. The single that became their definitive hit and likely haunts them to this day is 'Bohemian Like You, who some of you will remember from that Vodaphone advert. But it's an album that doesn't rely on a single hit, it's one to whack on, go through the looking glass and see the world through their artfully fantastical vision.
Review: Angus from Australian indie folksters Angus and Julia Stone has an unearthly beauty to his voice so we're always partial to checking out what he's turned his hand to. This is his fifth studio album under his moniker Dope Lemon and it follows his acclaimed 2023 album, Kimosabe. There's certainly an axis between 'Golden Wolf' and some of the early Angus and Julia Stone, but with more of a Killers-esque rock engine to it. Elsewhere, 'Electric Green Lambo' takes us on a detour through some funky, soulful grooves that would suit blazing a cigar in the Havana sun. And the sleek 'Sugarcat' has the strongest beat of the set and it's a guaranteed mood bump every time you hear it.
Review: Let's face it, The Futureheads are at their very best when utilising choir-style vocal arrangements. This was arguably first made clear when they dared to drop that incredible cover of 'Hounds of Love' - treading where very, very few people have braved, into the world of enigmatic wonder-artist Kate Bush, and coming out with something that stood up on its own as a wonderfully unique cover. If you agree, this one's for you. Online blurbs will tell you Rant is a diversion from the usual Futureheads stuff. And yeah, maybe it is to some extent - this is an a cappella album after all. No guitars. No drums. No instruments other than the band's own voices. It also uses traditional folk as the main source material, with some pop and dance thrown in. Nevertheless, if you can't immediately identify this as the Sunderland group, and hook into the clear rhythmic signatures that would identify this as them, even without the voices, you've not been listening hard enough. A triumph of auteur theory in music.
Review: Originally released in 1981 via Bronze Records, Hit & Run would serve as the sophomore full-length from London's Girlschool. Reaching No. 5 in the UK Albums Chart with the title-track charting at No. 32 in the UK singles, the album was the band's biggest success, even landing them an obligatory mime performance on Top Of the Pops. Returning to London's Jackson's Studios to work with producer Vic Maile, who handled desk duties on their 1980 debut Demolition, the project saw the group ramp up their speed and melody, ultimately cementing their place as somewhat retrospectively overlooked pioneers of the New Wave of British Heavy Metal (NWBHM). Reissued or rather "revisited" for Record Store Day 2025, this lush, limited red wax pressing features cuts such as the iconic opening banger 'C'mon Let's Go', which appeared in the Gemini Award winning 2005 documentary Metal: A Headbanger's Journey, as well as their much adored rendition of ZZ Top's 'Tush'.
Review: Seattle-raised, New York-based singer and pianist Eliana Glass releases one of the most arresting debuts of the year, finding her own nuanced style after years training as a jazz vocalist and being in steeped in records by Nina Simone. Glass' love of more indie influences, such the ethereal Elizabeth Fraser of the Cocteau Twins means she fuses technical excellence with a more emotional led timbre that, in turn, brings you closer to her soul. 'On The Way Down' is a great place to start as it's a stunning marriage of piano and vocal but when she just plays piano the hairs stand on the back of your neck, too. Check out 'Song for Emahoy' and try not to cry.
Review: Once synonymous with bands such as The Lemonheads, Some Girls, and Blake Babies, Boston, USA singer-songwriter Juliana Hatfield has been there and done that as part of a group, with her own Juliana Hatfield Three setup, alongside Todd Philips and Dean Fisher, and in full-blown solo mode. And she continues to 'do it' very well indeed - How To Walk Away might be 17 years young in 2025, but her most recent original offerings, on 2021's Blood, proved there's no shortage of ideas still. As for How To Walk Away, this is Hatfield in her element. Emotional alternative rock in that way America has defined for the best part of four decades - left of centre yet accessible and destined for charts and soundtracks alike.
Review: Following on from 2023's acclaimed debut full-length All Gas No Brakes, Bristolian noise-punks Heavy Lungs return with the definition of an antithetical sophomore LP with Caviar. Clocking in at under 30 minutes (significantly less than their initial outing) and recorded live in dingy church rehearsal spaces to capture the unhinged intensity of their live performances, this is the sound of a band vehemently disinterested with mainstream appeal, exposure or playing the game by any terms apart from their own. While vocalist Danny Nedelko would be the named subject of one of the biggest singles from fellow Bristol natives Idles' 2018 breakout second album Joy As An Act Of Resistance, where his peers have expanded their sound and embraced myriads of melody, Heavy Lungs are poignantly going the opposite route, full speed towards oblivion with only chaos and anarchy on their collective minds.
Review: Talk about appropriate names. There's something about Helen Island that sounds as though it has been cast adrift, washed up, and left to establish its own thing. The Parisian enigma's work feels ghostly, haunted by a past that has vanished into the ocean mist. Whether they'll ever be reunited is the real question, but mystery is the joy here. Whether it's at the uptempo, synth pop hued 'Hot Zone Regular Day', or the weird and wonderful psyche-electronica-field style 'Forever Starts Today', breathy samples on 'Indivisibl' or the innocent contemporary classical-cum-ambient plucked strings and keys of 'Restless Lovers' and 'Gore Lore', the whole thing is a strange and beguiling ride through the outer reaches of popular music.
Review: Hozier's 'Take Me To Church' was the ineluctable indie pop staple of 2013, finding the Irish singer-songwriter explore gothic and religious themes, bringing a confessional feel to a tired relationship amid intrafaith discrimination. This was despite short shrift for Hozier himself, where at the time, Hozier's queerness unfairly barred him from full participation in life as an orthodox Catholic. With a turbulent music video complementing the song, Hozier's accompanying album was sure to ignite the sympathies and passions of many an indie rock fan, cementing the artist's career and earning him several nominations. This new reissue from UMR sheds light on that same moment over a full decade on.
Review: Ten years after their brilliant sophomore LP Smoke + Mirrors, rock-radio-ready roilers Imagine Dragons (once celebrated as, among many, the biggest band in the world) mark the occasion with a fresh vault of 14 previously unreleased demos from the sequent album's recording sessions. While the original showed off the band's dynamic range, securing them many a number-one spot, this collection offers a raw glimpse into the creative process of the LV power-pop rovers. Much less polished than official chartists might expect, we still note of the band's seemly evolution out of an already rather anachronistic early-10s EDM-plated sound, primed for radi-a and stadia alike. Many of these songs were written for the road, so it's interesting to hear, and/or imagine, what might've been if the band had followed these songs to their glossiest conclusions at the time.
Atmosphere (live At The Factory, Hulme, UK, September 28, 1979) (2:22)
Wilderness (live At The Factory, Hulme, UK, September 28, 1979) (3:00)
Shadowplay (live At The Factory, Hulme, UK, September 28, 1979) (3:53)
Insight (live At The Factory, Hulme, UK, September 28, 1979) (4:06)
Colony (live At The Factory, Hulme, UK, September 28, 1979) (4:06)
Review: Famed for having hosted the likes of Hendrix and The Stones, the Moonlight Club in the basement of the vintage Hampstead pub The Railway, was a ram-packed sweaty room and a fantastic place to have seen Joy Division live. The Ian Curtis-fronted Macclesfield post-punk legends played three nights on the trot here and the setlist is the stuff of legends, nicely meandering through the best tracks from their Closer, Still, Unknown Pleasures albums and beyond. Side 2 includes a run of tracks that they recorded in the briefly opened and since demolished Factory live venue in Moss Side, Manchester, bringing you back to a time when the city was in its monochromatic prime..
Review: Before Oasis reformed, Noel and Liam were operating on two very different realms. Liam insisting that the wheel isn't broken so doesn't need to be changed, while Noel was all for changing the wheel and experimenting in the studio. He famously wound up the Oasis fanbase over the fact he had a scissors player in the High Flying Birds. Now, we're treated to said scissor player's brilliant solo album and Noel is a featured artist on the song 'Two-Love' - he plays bass and piano. It's a brilliant piece of baroque art pop that's playful and eccentric. Fully deserving of being signed to the esteemed Stereolab's Duophonic label, Le Volume Courbe, aka Charlotte Marionneau, is a sheer delight. Let's just hope there's more music to come soon as the album before this was in 2015.
Review: New Zealand collective Leisure collides many different musical worlds on their genre-blurring sophomore album, genre-blurring. Soul, r&b, rock and pop all get taken in and worked into a lush sound defined by its experimental energy. There are several standout tracks like 'Money' and 'Feeling Free' that showcase their signature sun-soaked vocals and smooth grooves. Elsewhere, Twister brings a bold, modern take on funk, which has won over both fans and critics with 'On My Mind' a prime example of their boundless creativity and knack for warm textures and adventurous spirit. As such, it's a record that cements the group's place as contemporary innovators.
Review: Next up on AD93 is the debut collab between singer-songwriter Marlene Ribeiro (of drone-psychedelic band GNOD) and electronic producer Shackleton, together masquerading as Light Space Modulator. A ghost-tropical ramble through what can only be described as a deterritorial comedown forest, The Rising Wave amounts to a floral, melty eight-tracker, easing up on concept in favour of a loop-breaking, mangrovey musical mood. The improv psycho-echoes of GNOD are heard in full force here - with lead shocker 'These Things' provides an especially depth-swelling burier bass down below - but Shackleton's long-honed dubstep abstractions serve to focus the mix, keeping things as beatmatchable as they need be open-ended.
Review: Icelandic experiment Low Roar heard Ryan Karazija, Leifur Bjornsson and Logi Gudmundsson indulge a transoceanic collaboration, extending many a riotous yet sensual sludgeoff between indie pop and post-rock until Karazija's death in 2022. Since this sad event, subsequent records have heard the band reuse loose elements recorded by Karazija in a posthumous fashion, and House In The Woods is a brilliant new example. Pressed to vinyl quickly after an initial digital release, the album blends typical Icelandic ambient-string work with sensuous background vocals and harmonium layers, and deals in a range of subjects from decrepitude to endless love, marked by a sense of sublimity throughout.
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: 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: Cardiff noise-rock legends Mclusky make their long-awaited return with the highly anticipated The World Is Still Here & So Are We. Serving as their fourth full-length and first since 2004's The Difference Between Me & You Is That I'm Not On Fire, the album comes following numerous sparse reunion shows and tours since their initial disbandment two decades prior. First revealed through the release of the Unpopular Parts Of A Pig EP during the latter half of 2023, which would mark their first newly recorded output in 19 years, both the title-track as well as 'The Digger You Deep' were said to be the first tastes of their fourth LP, now making good on that promise with a release set for distribution via Ipecac Recordings, the label of musical absurdist Mike Patton (Faith No More, Mr. Bungle). Having worked in the past with the late, great Steve Albini, even opening for Shellac one fateful evening in London's Scala, the iconic noise-merchants seemingly haven't lost an iota of their bite or shitheaded cynicism during their time away, evidenced as such as in the blistering lead single 'Way Of The Exploding Dickhead'.
Review: Melvins' back catalogue is so strong that they could make a living just re-releasing the hell out of it. But Melvins' Buzz Osborne is a true punk and has such an unrelenting passion for music that they will never stop. The good thing is that he is under no illusions that he's great... Melvins in 2025 sound absolutely incredible, like Black Sabbath good. The line-up for this album takes things back to 1983 as the band's original drummer Mike Dillard makes a relatively rare appearance. It's only the third album he's made with Buzz Osborne, but absolutely is it gold when it happens. Dillard famously played in a short-lived pre Nirvana group with Kurt Cobain called Fecal Matter and there's certainly parallels to Nirvana's frantic approach to drums on this album. In terms of the rest of the music it's tuneful in a heavy way and it's that balance between the two that was the cornerstone of grunge and you can hear how Melvins became such a prevalent influence, playing a role in shaping the sound of Nirvana, Soundgarden and countless others.
Review: The trailblazing godfather of grunge, Buzz Osborne, is the sole constant member of Melvins, but he's not burned his bridges. He's invited back original drummer Mike Dillard (with who he founded the band in 1983), along with Void Maines and Ni Maîtres, for the third Melvins 1983 album, the previous two being Tres Cabrones (2013) and Working With God (2021). They're on the form of their life with the new album; it is ferocious and exhilarating. A standout is the lead single 'Thunderball', which is a celebration of the drums. You can hear Dillard hitting his snare with unparalleled force and nailing countless fills. Meanwhile, Osborne's melodic and heavy guitar playing strikes a perfect balance. Vocally, Osborne has the highest level of conviction; he truly belies his years. And with Black Sabbath calling it a day very soon, we need Melvins 1983 more than ever.
Review: Brooklyn-based Model/Actriz, a four-piece rock band formed in 2016, return with an electrifying new chapter in their career. Frontman Cole Haden, guitarist Jack Wetmore, bassist Aaron Shapiro, and drummer Ruben Radlauer have forged a sound that merges post-punk aggression with noise rock's raw energy. Their latest release is a visceral, direct exploration of both the visceral chaos of their live shows and the darker, more introspective side of their sound. After their debut album Dogsbody earned critical acclaim in 2023, they've recalibrated their approach, opting for a more stripped-down and immediate experience. Tracks like 'Cinderella' and 'Acid Rain' charge forward with the kind of club-ready energy that makes their performances unforgettable, while 'Doves' and 'Audience' offer hauntingly introspective moments. Model/Actriz's commitment to blending queer themes with explosive music continues, pushing boundaries in both their lyrics and sound.
Review: Origin of Symmetry is still the most cherished Muse album by most fans and this live performance of their festival set at Bizarre Festival in Germany captures the Devon rock trio playing songs from it before it was released. The singles 'Plug In Baby' and 'New Born' are on here, as are their debut album Showbiz's best songs 'Muscle Museum' and 'Sunburn. It's truly a mouth watering setlist that makes it understandable how they went from the moderately sized band they were then to one of the biggest bands in the world.
Review: This reissue of Janitor of Lunacy recaptures Nico in a stark, spellbinding 1983 live performance at Manchester's Library Theatre during a period when she called the city home. Spread across 20 tracks on double vinyl, the album distils her haunting presence and singular voice into raw, intimate recordings that draw from four of her solo records as well as Velvet Underground classics like 'Femme Fatale' and 'All Tomorrow's Parties.' The set also includes a brooding take on Bowie's 'Heroes' which is, like the rest of the pieces, minimalist and emotionally charged. This was Nico stripped down to her essence, namely bleak, beautiful and moving.
Review: Billy Nomates' third studio album is the first that the Bristol-based Invada Records-signee recorded in the studio with a band. Formerly a solo artist standing alone on stage and making albums much the same way, now she has bass player Mandy Clarke (The Go! Team) and drummer Liam Chapman (BMX Bandits) backing her. They all went to Paco Loco Studios in beautiful Andalucia, Spain to record with James Trevascus (her hit single 'No' was the first thing they did together and they have a solid working relationship since). The resulting tracks - not least 'Plans' and 'Dark Horse Friend' (featuring actual Stranglers man Hugh Cornwell) from this adventure to sunnier climes are staggeringly impressive. It seems Billy Nomates, real name Tor Maries, has made the best album of her artistic life to-date. And it's a milestone that's bound to ensure this talented artist remains part of the fabric of British popular music for years to come.
Review: In 1984, Gary Numan launched Numa Records and started a new phase in his career with the release of Berserker. This album introduced a harder-edged digital sound into his canon while maintaining the analogue textures of his earlier work. It's a testament to the fact that Numan's creative evolution never stopped and blends both personal and fictional narratives into haunting tracks like 'My Dying Machine,' 'This Is New Love' and 'Berserker.' The remastered double vinyl edition includes the original album with bonus tracks that add extra perspective to this pivotal period in his career.
Review: Frightened Rabbit's singer and chief songwriter Scott Hutchison devastatingly passed away in 2017 aged only 36. He's left behind an incredible oeuvre including this debut and sole solo album under the moniker Owl John. Hutchison as a lyricist had a warts and all approach, poetically delving into depressing subject matter in a spellbinding, artful way. The track 'Hate Music' is a case in point, his loathing of the record release cycle is conveyed with biblical imagery and brutal honesty. The cinematic polish of Frightened Rabbit is toned down in favour of a distinctive, more experimental aesthetic that resonates deeply..
Review: This expanded edition of Pale Saints' third and final album Slow Buildings is a real doozy for fans of the English alt-rock and shoegaze outfit. The original is a long-out-of-print classic that has been sympathetically remastered here after originally arriving back in 1994. The album captures their transition into more open, melodic territory while retaining the dense guitar textures and experimental spirit of their earlier work. Meriel Barham's vocals shine as caller as always, particularly on standout single 'Fine Friend,' which was adapted from Persian Rugs' 1981 track. This two-disc reissue includes the Fine Friend EP and a curated trove of unreleased demos and tracks that make it an essential addition for completists.
Review: Begun in earnest during the COVID-19 pandemic, after the former had remixed the latter's new Radiohead material, Mark Pritchard and Thom Yorke exchanged much of the for their new record Tall Tales remotely. Forerun by new single 'Back In The Game' then 'This Conversation Is Missing Your Voice', the album takes shape as a surreal mythopoesis, warping back in time to 2020's plague, where the former track's hyperreal music video (dir. by Jonathan Zawada) sees a rooftop figure defenestrating art itself amid grotesque figures bearing the worst of a mutant contortionist slice-of-life. Yorke has said that the album was crucial to him, describing the music-making process as "mental."
Review: Puma Blue, the project of South-London-born, Atlanta-based Jacob Allen, moves in a starkly different direction with this latest release. Stripping away the layered trip-hop, jazz, and electronica influences of previous works, he now focuses on a more direct and vulnerable form of songwriting. With just his guitar and voice, Allen crafts an album that feels intimate, raw, and deeply personal. Each track is a careful balance of simplicity and complexity. On 'Tapestry', the narrative unfolds like a dense, aching reflection, while 'Hotel Room' captures a moment of quiet melancholy with an almost confessional tone. In contrast, 'In the Absence of You' is stark in its honesty, delivering a minimalist sentiment that resonates with painful clarity. The absence of the full band setup places the weight of emotion solely on Allen's shoulders, allowing his vocal delivery and guitar work to shine. The result is a profoundly affecting listen, one that's less about expansive sound and more about the intimate space between notes, where every breath and pause feels significant. It's a deeply personal exploration of solitude and longing, executed with haunting simplicity.
Review: Hailing from The Gret White North's Toronto, PUP (Pathetic Use of Potential) are your favourite current punk band's favourite current punk band. Originally formed in 2010, the past decade and a half has seen the group deliver one consistent album of bangers after the next, with their new fifth full-length Who Will Look After The Dogs? arriving three years on from 2022's The Unraveling Of PUPTheBand, proving that prior titular statement to be mistaken information. Expanding their sonics as far as their musical palettes, the LP showcases the debaucherous yet earnest Canadian troubadours pulling simultaneously from both more radio-centric college rock as well as more intense hardcore this time around, while modern punk legend (and once Bomb The Music Industry lynchpin) Jeff Rosenstock makes a standout appearance on the latest single 'Get Dumber'. Gritty, melodic, and sincere, all within the same breath (or verse), it's a tough year for any punk band to compete whenever PUP rear their grimy head.
Review: Toronto's PUP are your favourite modern punk band's favourite modern punk band. Over the past decade, they've delivered one consistent album of bangers after the next, and now they return three years on from 2022's The Unraveling Of PUPTheBand to prove that title as mistaken information. Who Will Look After The Dogs? serves as the fifth full-length from the debaucherous yet heartfelt Canadians, stretching their sonics as far as their palettes, pulling from both more radio-centric college rock and simultaneously much heavier hardcore this time around, while once Bomb The Music Industry lynchpin and nowadays punk rock troubadour legend Jeff Rosenstock makes an appearance on latest single 'Get Dumber'. Not so much the "Pathetic Use of Potential" that PUP still claim to be.
Review: Portland, Oregon's Graham Jonson urges our hurries once more with Heard That Noise, an anemological study in ascendant post-rock and psych. Jonson crafts intimate, zigzagging and west windy songs, ploughing the grey, sludgy boundaries of folk, pop, and noise. Following a subtle tangent from SoundCloud renown to 2021's The Long and Short Of It, he now follows that record up through a desultory reflection on breakups, memory, and creative rediscovery; Phil Elverum, Dijon and Nick Drake glance through the sonic cloud cover as ancestral muses, while the record blends warmth and discordance, where sweet ballads unravel into distortion; serene moments jolted by sonic "jump scares."
Review: Rootsy LA indie darlings Rilo Kiley have reformed to embrace their retrospective best of era, even though it feels just like yesterday that the Jenny Lewis-fronted group were in their early 20s releasing their first albums. The band strongly evoke that late-00s/early-10's golden era of indie/chamber pop and are among the best representatives of that time. 'With The Arms Outstretched' is classic songwriting full of emotional depth. It is blessed to have Conor Oberst of Bright Eyes fame on backing vocals and it's sure to bring the crowds to floods of tears of joy in the reunion shows. Meanwhile, 'Let Me Back In' has a bit of The Strokes drummer's side project Little Joy about it, with its beautiful arpeggio picking and smoky, noir vocals. Elsewhere, 'A Better Son/Daughter' works around a stripped back Moldy Peaches-esque simplicity, before bubbling up into more of a procession with lyrics you can't help but want to march along to.
Hail To Whatever You Found In The Sunlight That Surrounds You
My Slumbering Heart
Three Hopeful Thoughts
With Arms Outstretched
Spectacular Views
Outro
Review: Most bands dream of going to LA and making it in big, but for Rilo Kiley, who are from Los Angeles, they struck gold by turning the attention away from the major metropolis and gazing onto a small, influential scene in Nebraska that centers around Saddle Creek Records. As one of few non-Omaha, Nebraska-based artists to get on the label, they were signed against the odds really. But the pairing couldn't have been better. For the Jenny Lewis-fronted group to have the genius Mike Mogis (who is the record labels go-to producer and a full time member of Bright Eyes) produce this second album of theirs was a stroke of genius. Originally released in 2002, it's now getting a reissue that's limited to only 3000 copies. Given how strong their fanbase is, chances are these won't be standing around for very long and it's a beautiful celebration of one of the hallmarks of indie rock.
Tower Of Meaning/Rabbit's Ear/Home Away From Home (11:53)
Happy Ending (4:12)
All-Boy All-Girl/Tiger Stripes/You Can't Hold Me Down (8:58)
Introductions (3:44)
Hiding Your Present From You/School Bell (8:13)
Too Early To Tell (7:36)
Changing Forest (13:20)
Sunlit Water (9:49)
Review: A posthumous release that furthers Arthur Russell's now legendary status. Recorded in Downtown New York City on December 20, 1985, it's an intimate, unedited solo live performance recorded at Phill Niblock's loft space known as Experimental Intermedia Foundation. The takes are very raw and unpolished that it makes you feel like one of the very few in attendance. 'That's the Very Reason' is a beautiful, tender experimental folk piece showing he needed very few materials in order to send listeners on a journey of transcendence. 'Too Early To Tell' is highly idiosyncratic and produces a sound not normally associated with cello. And 'Sunlit Water' has an oriental feel and provides beautiful resolve to a resplendent set.
Review: Legendary British outfit Saint Etienne returned with their 12th studio album late last year, and now it lands on vinyl via Heavenly Recordings. A much-awaited follow-up to 2021's I've Been Trying To Tell You, this ambient collection offers a gentle, immersive experience designed to ease the noise of daily life. It was produced with Augustin Bousfield and blends songs, spoken word and rain-soaked textures into a seamless dreamscape, all recorded between Saltaire in the north and Hove down on the south coast. It captures the fragile space between waking and sleep with highlights like 'Half Light' and 'Preflyte'. As such, The Night is best experienced on headphones and is ideal for late hours, reflection and introspection.
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