Domino Vinyl & CDs

Review: Astonishingly, seven years have now passed since the release of Franz Ferdinand's most recent studio album, the dancefloor-fired colour of Always Ascending. Reuniting the Glaswegian post-punk rockers with former mixer/engineer Mark Ralph (who this time steps up to produce), The Human Fear has been trailed as a kind of extended lyrical meditation on prejudice and fear. It's a notably grown up and musically varied affair, with opener 'Audacity' joining the dots between the jagged guitars and energy of the band's earliest recordings and the inventive, try-different-things arrangements made famous by the Beatles in their golden 1966-67 period. Compare and contrast this with Night Or Day', where fuzzy 70s synths and jangling piano riffs squabble for sonic space with metronomic drums and bass, and the fizzing nu-rave/indie dance revivalism of 'Hooked'.

Review: A warm welcome back to perennial genre-benders Hot Chip, who return to stores after three long years with their eighth album, some 21 years after making their debut. Freakout/Release is no dramatic change in direction, but instead a further distillation of what has always made the band so appealing - a trademark fusion of synth-pop, loved-up house sounds, lilting and sometimes melancholic lead vocals, loose-limbed organic drums, nods to Prince and an ability to craft killer hooks. There are highlights aplenty, from the gravelly live hip-hop funk of 'The Evil That Men Do' (where rapper Cadence Weapon delivers a star turn) and the subtly post-punk influenced, saucer-eyed brilliance of 'Hard To Be Funky' (featuring Lou Hayter), to the classic Hot Chip sing-along flex of 'Time' and the krautrock-tinged 'Out of My Depth'.

Review: While it would be fair to say that My Bloody Valentine's most celebrated works are by and large albums, their EPs - and particularly the four released between 1988 and '91 - are every bit as alluring and ground-breaking. For proof, check this fine collection, which not only gathers them together but also adds rare tracks and deep cuts that have long been fan favourites (see the full, 10-minute version of 'Glider', a cacophonous but strangely addictive psychedelic soundscape, and the baggy-but-ghostly 'Instrumental No. 2'). Over the course of the two discs, it's possible to chart the pioneering band's sonic development over a three-year period in which they went from visionary alt-rockers to a band that not only defied categorization, but also played by different rules to their contemporaries.