Back catalogue:

Review: Said to be two decades in the making, this record features two tracks by Makode Linde, the visual artist and musician who has long been a friend and frequent cover designer for Sweden's most eccentric dance label, Studio Barnhus. 'Never Getting Over Me' features Makode's poignant vocals on a quirky, sun-drenched rhythm while 'Professional Help' delivers bossa nova brilliance with a graceful, flute-driven backdrop which reflects the protagonist's lament over his old flame's aversion to therapy. With exquisite songwriting and charming lo-fi appeal, these songs are brilliant dance-pop fusions with a great message and plenty of irresistible grooves.

Review: Metronomy, esteemed purveyors of eclectic indie-electronic pop, open a new chapter with Posse EP Volume 2, out on Ninja Tune. Band founder Joe Mount steps into the role of producer, crafting musical worlds for new singers and artists. The EP's lead single, 'With Balance (feat. Naima Bock and Joshua Idehen),' showcases pastel-plucked guitars and hazy vocal lines, culminating in Joshua Idehen's powerful wordplay. This understated ballad is accompanied by a visually striking video produced by global creative agencies Wieden+Kennedy, Immigrant Studio, and Wake The Town. Mount comments on the video, 'It highlights new artists and ideas and allows me to enjoy it as a viewer.' Posse EP Volume 2 features collaborations with Miki, Faux Real, Nourished by Time, Lynks, SPIDER, Master Peace and TaliaBle. Mount reflects on the Posse EPs as a way to connect with new music and embrace their extensive career. This collaborative approach energises both artist and listener, making Posse EP Volume 2 a revitalizing addition to Metronomy's vibrant discography.

Review: Violin extraordinaire and singer Andrew Bird teams up with an Americana icon, whose star has risen and is continuing to rise - Madison Cunningham. Bird says of Cunningham that she is one of the most talented musicians he's ever encountered. Together they've covered the 1973 album Buckingham Nicks - Stevie Nicks and Lindsey Buckingham's pre-Fleetwood Mac LP and done a brilliant job of it. Buckingham Nicks was a flop commercially when it was released and despite the duo's subsequent success it was never remastered or re-released digitally, so hard to come by. Thankfully, Cunningham and Bird bring this underrated gem into the limelight and do so in style. "The best reason to cover anyone is that little part of you that thinks you might do it better. This album epitomizes excess and confidence and it only made sense to embody that spirit ourselves," says Bird in a press release. And he's quite right - there's no misplaced arrogance here - they've nailed this homage to a classic.

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: 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: Released in 1980 originally, The Correct Use of Soap is Magazine's third album and truly marks their evolution into a mature and cohesive unit. Produced by Martin Hannett, the album contrasts with the darker tones of its predecessors, returning to the pop sensibilities of Real Life while incorporating funk elements. Howard Devoto's lyrics boast a Costello-like flair, particularly on tracks like 'Sweetheart Contract', 'Philadelphia' and 'A Song From Under the Floorboards' and while the album embraces a more accessible sound, it doesn't shy away from the post-punk ethos of its time, reflecting societal anxieties during the Thatcher era. Songs like 'Because You're Frightened' intertwine personal and political fears, with lyrics exploring sexuality alongside existential dread. The closing track, 'A Song from Under the Floorboards', encapsulates this duality, featuring striking lines that reveal anger, illness and a deep sense of vulnerability. This remastered edition on white vinyl invites both new listeners and long-time fans to rediscover an album that captures a broader historical mood while delving into intimate human experiences.

Review: Los Angeles-based alt-synthpop duo Magdalena Bay are by far the best in their lane right now - something they already established with their highly popular debut album Mercurial World back in 2021, with 'Chaeri' and 'You Lose!' striking a serious chord with fans of Charli XCX, Grimes and similar alt/electro-pop darlings. Paired with striking so-bad-it's-good visuals rife with overt effects and editing, it's really the combination of Mica Tenenbaum's distinctive, ethereal vocal performance and Matthew Lewin's textural and multilayered production you will stay for.
Imaginal Disc, sharing its name with structures in insect larvae that develop into adult forms later on in life, is a tale of discovering the essence of humanity after the protagonist's body rejects a CD that aliens attempted to implant in them. The album sees Lewin firing on all cylinders, the duo honing so closely on their specific sound that it's incomparable to anything else. Lead single 'Image' is a marvel, danceable in all the right places, moody and chord-striking when it needs to be. Magdalena Bay are cementing themselves as a must-know name in the 2020s.

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: 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 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: 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: 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: Grammy-nominated Laura Marling is back with Patterns in Repeat, her new album and eighth full-length overall. Fifteen years into her celebrated career, the Mercury and Brit Award winner explores new themes inspired by the birth of her daughter in 2023. This album reflects her experiences of motherhood and delves into the generational beliefs and behaviours that are passed down through the generations of families. Through deeply personal lyrics and introspective storytelling, Patterns in Repeat captures Marling's reflections on legacy and personal growth while also showing a subtly evolved sound as one of this generation's most respected 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: 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: 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: 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: This collection takes us back to singer/songwriter Cass McCombs formative years, offering up music recorded between 1999 and 2001 while he was living in San Francisco. McCoombs subsequently washed up in New York, on the back of extensive touring of the United States, and bagged a deal with 4AD. Effectively, this is an "origin story" release that showcases material laid to tape in a Bay Area apartment, rather than a professional studio. Atmospheric and naturally lo-fi, the recordings are rooted in a laidback Americana and electric neo-folk, albeit with a woozy, dreamy and meditative, effects-laden finish. Sparse, heady and with a vocal style that leans towards 'Screamadelica' era Bobby Gillespie, it's a fine collection of previously unheard gems.

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: 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: Considering how much most modern rockers don't talk about the Melvins, or Melvins as the Washington staters should technically be referred to, it's insane how much influence they had on the development of late-20th Century guitar sounds. Without Dale Crover, Buzz Osborne and Steven Shane McDonald, we're not sure there would have been grunge at all. Kicking but not screaming out of the Pacific Northwest in 1983 (at which time Mike Dillard was playing drums, later replaced by Crover), Houdini is their fifth studio album and by this point they'd more than found that legendary groove. Sludgy, thick, stompy and a little bit swampy, these are the riffs that inspire limbs to move of their own accord, setting the tone for a range of bands from Soundgarden and Nirvana to Tool, Sun O))) and Slipknot.

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: Memorial Waterslides marks the debut of Memorials, a collaboration between Verity Susman and Matthew Simms, formerly of Electrelane and Wire. This album is a surreal exploration of pop music, blending timeless songwriting with avant-garde sensibilities. Drawing from a wide range of influences from Broadcast and Portishead to Yo La Tengo, Memorials crafts a panoramic soundscape that feels both familiar and refreshingly new. The album's tracks are rich with imagery, evoking visions of a lost future and dreamlike past, each contributing to a swirling, cinematic atmosphere. Produced entirely by Susman and Simms, the record's sound was shaped by their reel-to-reel tape experiments, initially developed for their live performances. This playful and experimental approach results in a engaging mix of psychedelic rock, folk, and analog electronics. Following their successful 2023 soundtracks and a European tour with Stereolab, this a bold and imaginative journey into the unexpected, balancing the esoteric with the melodic.

Review: Quebecois trio Men I Trust bring their recent album Oncle Jazz to 2xLP after an initial CD release. An evanescent vapourising of the sound they've laid down from 2014 onwards, the 23-track album hears the trio focus their craft despite the length, bridging whimsical instrumentals to midrange-layered islands of indie lilt, amid upright and airy vocal mondegreens. Star tracks for us have to be 'Found Me' and the quirkier 'Fiero GT'.

Review: On their eighth album, Mercury Rev has tapped into the long and illustrious history of 'landscape music' - works inspired by specific environments, whether natural or man-made. In the case of Born Horses, it's the former, with the band situating themselves in the wilds of upstate New York and delivering a set they describe as "glistening psych-jazz, folk, baroque-ambient". In practice, this means immersive, enveloping songscapes that make use of a vast range of acoustic and electronic instruments, both sung and spoken vocals, and a lengthy list of influences and inspirations that apparently included Vangelis, songs from Broadway musicals, movie soundtracks, Chet Baker and Miles Davis. That it sounds nothing like any of them, and is very much its own atmospheric sound world, is testament to the long-serving band's endearing quality. A genuine delight and arguably their best album for some time.

Review: Mercury Rev's ninth album, Born Horses, emerges from the mystical landscapes of upstate New York where you will find a richly swelling, spellbound sound that blends organic and electronic elements. This album, a cascade of psych-jazz-folk-baroque-ambient exploration, taps into the spiritual and literal seam between the Catskills and Hudson Valley. The music flows with guitars, keys, brass, strings, woodwind, and drums converging to create an evocative soundscape. The voice of incantations and streams of consciousness adds depth to this sonic journey. Featuring founder members Jonathan Donahue and Grasshopper, new permanent member Marion Genser, long-term ally Jesse Chandler, and guests Jeff Lipstein, Martin Keith, and Jim Burgess, Born Horses is a microcosm of their musical cosmology. Inspired by Broadway tunes, lonesome blues and the likes of Chet Baker and Miles Davis, the album feels both nostalgic and forward-looking. Dedicated to avant-garde artist Tony Conrad and Beat poet Robert Creeley, Born Horses is a vulnerable, reflective masterpiece, revealing the timeless essence within its intricate compositions.

Review: The sixth album from West Coast psychedelic indie warriors Mercury Rev had already been enhanced with a host of extra B-sides and other goodies on a limited edition version when it first dropped in 2005, but this new version sees it further expanding, like the brain of an innocent teenager dropping acid for the first time. The original core 13 tracks are pretty good in their own right, obviously, from the close harmonies of 'Moving On' sounding like a frazzled, baked Beach Boys and the grandiose opener 'Secret For A Song' they show they're capable of achieving multiple moods and rollercoaster dynamics. Luxuriate in that and spoil yourself further with a further 12 flip tracks and outtakes, including guest vocal appearances from Bonnie Kate Anthony on the rather Nilsson-sounding 'I Never Had It So Good' and 'Tennessee Blues' and intriguing experiments like the spaced out synth-and-voice effort 'Good Day'.

Review: All Is Dream represents the mighty-yet-meek Mercury Rev at their pinnacle in terms of sonic development. Starting life as something of an experiment - a loose 'group' pulled together to score the student films of undergraduates at the University of Buffalo - by this point, 2001, they'd fully realised a jaw-dropping amalgamation of drone, weirdo pop, 1960s psyche throwback, shoegaze and rock & roll, rendering themselves pretty irresistible from where we were listening. Rightly acclaimed at the time for breadth, scope and incredible musicality, All Is Dream gave us 'Planet Caravan''s sublime fireside late-night jazz noodling, the folk-country acoustic of 'Streets of Laredo', the riotous symphony of 'A Drop In Time', and Bowie'-esque glam punch of 'You're My Queen'. Not to mention the heartbreak of 'Spiders & Flies'.

Review: Michelle's first project, 2018's Heatwave, celebrated the vibrant energy of New York City where all six band members grew up. Following its success and their 2022 album, After Dinner We Talk Dreams, the band expanded their horizons and headed out on tour across the US and Europe with artists like Gus Dapperton, Arlo Parks and Mitski. For their new album, Songs About You Specifically, Michelle retreated to a house in Ojai, California. Immersed in the serene desert surroundings, they found a new sense of solitude and intimacy and this shift is reflected in their music, which now embraces starry shoegaze, funk and 80s synth pop.

Review: Imagine a blend of Henry David Thoreau and Neil Young's 'After the Gold Rush', with a touch of Laurel Canyon introspection and a yearning for something just beyond reach and you're close to the essence of Midlake's breakthrough album. Wistful melodies and enigmatic narratives make for a sonic landscape pitched somewhere between 1871, 1971 and a realm entirely out of time. Tracks like 'Roscoe' and 'Bandits' shimmer with a romantic yearning for simpler times, while 'Head Home' and 'Van Occupanther' delve into the introspective musings of outcasts and dreamers. Its instrumentation is rich and varied, with dreamy horns, rolling guitars and plaintive pianos weaving a tapestry of sound that perfectly complements the elusive narratives. 'Young Bride', 'Branches', and 'In This Camp' showcase the band's vocal harmonies and their ability to craft melodies that linger long after the music fades.

Review: Midwife's fourth studio album, No Depression In Heaven, emerged from the relentless motion of touring, with much of its material written in the back of vans over several years. The record delves into themes of grief, memory, and the tension between dreams and reality, all while maintaining a contemplative rock 'n' roll spirit. Madeline Johnston, the creative force behind Midwife, strips back the tough exterior of the heavy music scene, revealing a tender, transcendent core. Recorded at home in New Mexico between 2021 and 2023, Johnston embraced a raw, imperfect approach, prioritising the emotional essence of the music over polished production. The album includes collaborations with artists like Chris Adolf, Michael Stein, Ben Schurr, Tim Jordan, Angel Diaz, and Allison Lorenzen, adding depth to the project. No Depression In Heaven is heavily inspired by the transient moments of life on the road and the gritty reality of America's underbelly. Tracks like 'Vanessa,' a love song to Johnston's dying van, and 'Killdozer,' which tells the story of Marvin Heemeyer's infamous rampage, embody the album's themes. The project reflects Johnston's existential journey as she navigates loss and the fleeting nature of life, all while solidifying her role as a voice within the underground music community.

Review: Ministry's The Land of Rape and Honey is a pivotal release in both the band's discography and the evolution of industrial music. This genre-defining album marked their shift from synthpop to industrial metal, characterised by distorted guitars, pounding beats, and aggressive, sample-rich compositions. The deluxe edition enhances this landmark with iconic tracks like 'Stigmata', 'The Missing;, and the haunting title track, along with exclusive remixes and extended cuts. Tracks like 'The Missing' and 'Deity' highlight the album's metal edge, blending thrash aggression with industrial elements. 'Golden Dawn' introduces a dark, ritualistic tone with samples from occult sources, showcasing Ministry's skill in merging industrial and post-industrial aesthetics. Songs like 'Destruction' and 'Hizbollah' expand the sonic palette with chaotic percussion and Middle Eastern influences. The title track, despite its controversial samples, reinforces the band's anti-fascist stance with its militaristic atmosphere. Closing with 'Abortive', the album offers a reflective end to its intense journey. The Land of Rape and Honey stands as a crucial bridge between early industrial soundscapes and the metal-influenced industrial of the 90s.

Review: Mk.gee is the stage name of prestigious producer Mike Gordon who has credits with big hitters, including Dijon, Omar Apollo, Kacy Hill and Fred Again. Having worked so closely with these names and having the likes of Dijon say in interviews that it's like Gordon is "creating or transmitting from an alien planet", it's set him up nicely for his solo career. Riding the crest of the wave this successful debut album Two Stars & The Dream Police, he's now selling out big venues all over the globe and has a feverish cult fanbase who hang onto his every word. It's easy to see why he's such a phenomenon - his lo-fi post-genre mixes of pop, rock and soul, which echo the likes of Frank Ocean, Connan Mockasin and Dean Blunt, are a riveting listen. A superstar who clearly has the musical chops and production taste to justify the hype.

Review: This reissue brings The Modern Lovers' eponymous debut album back to life, a record that captured the raw energy and poetic spirit of the burgeoning American punk scene at its earliest inception. Originally released in 1976, the album features a collection of iconic tracks, including the anthemic 'Roadrunner' - subsequently covered by everyone from the Sex Pistols to Sleaford Mods and Iggy Pop - the introspective 'Astral Plane', and the quirky ode to 'Pablo Picasso'. Raw and yet sophisticated, with influences ranging from the Velvet Underground to garage rock, this is a real treat.

Review: You Never End, the third album from Moin (Valentina Magaletti, Tom Halstead, and Joe Andrews), released via AD 93, marks a new chapter for the band. The album features vocal contributions from Olan Monk, james K, Coby Sey, and Sophia Al-Maria, each bringing their distinct, enigmatic voices into Moin's evolving sound. The collaborators add layers of allure and depth: james K's ethereal, reverb-heavy vocals, Coby Sey's rhythmic reflections of London's urban landscape, and Olan Monk's emotionally charged songwriting. Sophia Al-Maria's contributions reflect her multidisciplinary artistry, seamlessly blending into Moin's sonic universe while expanding its possibilities. Moin continues to challenge the conventional band structure, using a mix of traditional and innovative production techniques. You Never End subtly redefines the boundaries of grunge, shoegaze, and indie rock, imbuing them with a melancholic yet comforting tone. The vocal collaborations bring clarity and emotion, maintaining Moin's signature sound while enhancing it with electronic elements. The result is an album that feels both familiar and refreshingly new, resonating with textural richness and emotional depth.

Review: Belarusian post-punk and synth-pop group Molchat Doma have always reflected a brutalist aesthetic in their music which has been marked by cold, grey, and industrial tones. Following their 2020 breakthrough, the trio faced significant changes from leaving Minsk to headlining global shows. Settling in Los Angeles, they crafted their fourth album, Belaya Polosa, which symbolises transformation during tough times and celebrates the digital pulse of the 90s. The album combines sombre dance floor anthems with vibrant reinventions and tracks like 'Ty Zhe Ne Znaesh' Kto Ya,' 'Son,' and 'Belaya Polosa' showcase how they have moved their sound along to blend post-punk, synth textures, and melodic sophistication while maintaining their distinctive minimalist style.

Review: Argentine singer, songwriter, actress and psychedelic neo-folk high priestess Juana Molina may not be a familiar name to many in the West. But she's been putting out consistently fantastic records since the mid-1990s, debuting with Rara (not including the original score to the movie Juana y sus hermanas back in 1991) and is the sort of artist you don't forget once you discover. Allow Exhalo to open the door on this South American titan of folktronica, casting spells with a combination of lo-fi indie electronic, curveball pop, and progressive folk, with some influences also stemming from her upbringing as the daughter of tango legend Horacio Molina and actor Chunchuna VillafaNe. A deep and captivating listen that seduces you from the word go, this is one not to be missed if you can help it.

Review: Peter Hook's post-New Order venture with David Potts resurfaces after 25 years with Monaco, the duo's second and final album, finally seeing a vinyl pressing for the first time. The self-titled LP followed Music For Pleasure and leant into Hook and Potts' foundational fondness for rock-dance hybrids, with the buoyant 'I've Got A Feeling' and the moodier 'See Saw' among the stereo-steroidal standouts; we've everything from Brit-pub rock whimsy to club-shuttling indie house respectively. This UK-only edition lands as a deluxe gatefold double crystal clear wax; with a four-page booklet and a deluge of bonus tracks, this is the first proper physical revisit to a project that closed the 90s in the shadow of Hook's better-known bands.