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Review: Those who still pay attention to the music press may have noticed a fair bit of chatter about post-punk outfit Yard Act's debut album, The Overload, which one esteemed organ described as being "wonderfully wacky". That arguably does the album a disservice - "wacky" has negative connotations to some - but it is certainly a fun, freewheeling affair, whose tongue-in-cheek lyrics are frequently rip-roaringly funny. Sitting somewhere between vintage post-punk, Idles, Sleaford Mods and the Arctic Monkeys (the Leeds' band's vocals are often heavily accented), it's a riotous mix of gnarled guitar riffs, bombastic bass, shout-along choruses, drum machine beats and surprise nods to disparate musical styles (EG West African rhythms on 'Payday', Juju guitars on 'Land of the Blind') .

Review: The always superb Sounds Of The City comes through here with some freshness and newness here via their newly minted 'Sounds Of The City, Dark' series. It finds the French outfit Catalogue debuting on the label with a sound that brings a different perspective to the new post-punk movement. Their sound is a mixing pot of an array of different influences and what you get is music that will get you nodding to the grooves while your mind gets lost exploring synthetic elements, angular guitar riffs, robotic rhythms and lovely deep bass.

Review: As the title suggests, this excellent collection gathers together tracks from three live sessions the Sisters of Mercy recorded at the BBC's Maida Vale studios between 1982 and '84, during the formative years of their lengthy career. The first session, recorded for John Peel in August 1982, contains a quartet of early live favourites, including their popular cover of the Stooges' '1969', while the second - a session for David 'Kid' Jenson' - boasts versions of tracks from the classic goth-rock EP The Reptile House (as well as a surprise Dolly Parton cover). Best of all though are the tracks from their 1984b Peel Session, which were laid to tape around the same time as the Leeds outfit was recording its debut album.

Review: The Goa Express are bright young hopefuls in the arena of bombastic British indie pop. Following in the footsteps of Coldplay, Keane et al, these lads from Manchester have a sound which is made for radio play and massive stages - they're destined to be huge. Following up their Second Time single for Ra-Ra-Rok Records, they're back with this new song which plays out like a rallying call for unity in a distinctly un-united world. 'Everybody In The UK' has soaring choruses and a bright, hopeful sound which will surely send the band further down the road to stardom.

Review: We first cottoned on to Chew My Cheeks when Prima Queen unveiled their simple but wonderfully well shot, London-showcasing video. Produced by The Big Moon, we watched as the two faces behind this musical project guided us round a UK capital via dance, delivery of lines to camera, and cutaway shots of high rise buildings and the Emirates Sky Line - arguably the world's greatest transport network folly.

But what's the music itself like? Well, there's a real sense of effortless cool pervading the whole affair (how very Big Smoke), sparse, twanging guitar and shuffling rhythm conjuring images of warm afternoons in warm months, days when soft indie rock like this make sense. Flip it to find the larger, far more expansive sounding 'Invisible Hand', a song that takes emotional resonance to about 11 with its pared back verses and larger choruses.

Review: This Record Store Day 2019 exclusive finds Mumford and Sons at work in the famous Electric Lady Studios in New York. It was there that they decided to serve up four carefully reimagined versions of tracks from their acclaimed Delta album. Each one shows a different, incredibly tender side. 'Woman' is first with its gentle piano keys and closely mic-ed vocals soothing the soul, while 'Guiding Light' has more upbeat but still lo-fi guitar riffs and 'Wild Heart' is another showcase of the beautifully raw and emotive vocals of lead singer Marcus Oliver Johnston Mumford. 'If I Say' is a rousing, heart swelling closer.

Review: Beautify Junkyards and Ghost Box label co-head Jim Jupp is Belbury Poly here as he serves up a cover of The Incredible String Band song 'Painting Box.' It was original by written by Mike Heron and is a beautiful piece of acoustic guitar work with tender vocals and sweeping string sounds that come over like an adult lullaby, all soothing sounds and enchanting moods. The flipside is an original by Beautify Junkyards, 'Ritual in Transfigured Time,' which was produced by Joao Branco Kyron and is another perfectly lilting groove for lazy days.

Review: For the first time since their Four Against Fate album, Nightingales have recorded new music. 'Ten Bob Each Way' / 'Use Your Loaf' is a limited 7" single. The A-side is a beguiling bit of lo-fi post-punk energy, and the b-side features Stewart Lee and Nick Pynn serving up a cover that was originally intended for a Nightingales tribute album. This release kick starts what is said to be a lengthy campaign of reissues by Robert Lloyd's band The Nightingales after they've been returned to the spotlight thanks to the Stewart Lee-written film King Rocker. It told the fascinating tale of the unique band over a four decade career and was recently shown on Sky Arts.

Review: Philadelphia band Stereo League (which is comprised of childhood friends Alex Savoth and Dan King) always looks to discover new genres whether working alone or with like-minded collaborators. This latest 7" is another on the synth and soul label Eraserhood Sound and features two more timeless sounds. The opener 'Operator, Please' a delightfully seductive and reminiscent of 70s soul and funk, while on the back, 'Seasons of Trouble' layers in the Philly soul, with fancy funk sounds and classic yet compelling grooves.

Review: There are seemingly no limits to the music Emotional Rescue will put out. This time they look back to the post punk scene of Bristol in the early 80s. Mouth was a short-lived outfit that put out just a couple of releases, but each one blazed a trail though leftfield percussive sounds, wave, weird jazz and electronics. Andy Guy and Rob Merrill were the main members with the likes of Nellie Hooper also in the band's orbit. This record is packed with tribal drumming and floating horns, broken dubs and avant-jazz but all with a proudly DIY attitude. It's packed with heady moments and wild steppers that havent aged a bit and still sound future.

Review: Since first emerging in 2011 via the globally renowned Bella Union stable, Swedish indie rock duo I Break Horses have certainly set out their stall. The pair, better known as Maria Linden and Fredrik Balck, have - among other things - hit the road to support both M83 and Sigur Ros in the years between then and now. Indicative of their incredibly textured and subtly all-consuming approach to soundscapes, while this release comprises two remixes it still feels every bit a Horses outing.

There's just so much timbre to get to grips with. 'Death Engine' belongs in a twisted math rock dream, as grungy and rough as it is epic and emotional, if you look beneath the immediate discordance and distortion. Mythologen's take on 'Turn' is a cleaner second act, taking the pace down a notch and removing chaos, leaving only calm and serene harmonies of real beauty behind.