Review: Once hailed by Pitchfork as "the noisiest pop music on the planet", Texan group Cherubs, with Immaculada High, continue their second wave after returning from a two-decade hiatus in 2014. It sees the three piece land on American metal and experimental label Relapse Records - think Mastodon and The Dillinger Escape Plan - with an album that brings a fresh, even a previously thought-lost '90s ethic back to alternative, distorted and noisy metal. This record is no final farewell type gig, with the essence and rawness of tracks like "Sooey Pig" and "Full Regalia" in all its anti-Americana charm shining through as something new. With the Texas-sized, psychedelic racket of Cherubs recorded and engineered by Erik Wofford (Explosions In The Sky, The Black Angels) an undeniable trippy element to the band's punk ethos wilfully resonates throughout, most distinctly in Kevin Whitley's LSD-laced vocals that add a warm colour to a wonderfully muddy mix of lo-fi, distorted post-rock. Get dirty.
Review: Bristol's heavy post-punk groups Idles present their first full length album after a slew of records dating back to 2012. Brutalism collects the best of the bands antics, from vocals that shift from wailing snarls and smokey mob calls to punkish drawls, or the more spoken word and poetic emotional ballad that is album closer "Slow Savage". Guitars can thrash away or chill out melodically in the background, with the character of this album's songs striking up a familiar feeling of late-'90s punk to mid-2000s indie. Album highlights for us include "Mother", a song championing one woman's die hard working week, to the screeching, distorted anthem "Stendhal Syndrome".