Back catalogue:

Review: We are still being treated to superb albums that were written during the Coronavirus pandemic lockdowns and this is one of them. It took shape across a two-year period in New York, Seoul, and London and finds the highly rated Yaeji looking closely at her relationship with anger. In something of a shift away from the sound of previous work, she brings in rock and hip-hop elements as well as her signature house style. The lyrics in English and Korean are dark and self-reflective, while the artist also employs live instrumentation for the first time. Guests include K Wata and Enayet, plus vocals from London's Loraine James and Baltimore's Nourished by Time.

Review: As Radiohead tour the world and then regroup to record their new album, Thom Yorke releases his own record, 'The Eraser' on XL Recordings. A collection of nine new songs, the record was written and played by Thom and was produced by Nigel Godrich. Variously hailed as "The Best Band In The World" (Q Magazine), "Rock's Best Live Band" (Rolling Stone) and the band were placed at number 1 of Spin Magazine's 40 most influential artists, Radiohead has arguably become the most acclaimed and adventurous force in modern music. Over six studio albums the group have proved that it is possible to make massive creative leaps whilst continuing to grow in worldwide stature. Their records set new benchmarks for others to aim towards, whilst their live shows reach levels of intensity and exploration that few can match.

Review: It's taken a while, but finally Thom Yorke's impressive third solo album, "ANIMA", is available on wax (and in a fetching shade of orange, too). A future classic that continues the legacy he started with XL Recordings back in 2006 (with his solo debut The Eraser), ANIMA is well worth picking up, as Yorke and co-producer Nigel Godrich offer up evocative, off-kilter songs built around the twin attractions of the Radiohead man's distinctive vocals and skewed backing tracks rich in layered electronic noise, body-bending sub-bass, discordant synthesizer parts and intriguingly jaunty drum loops. Highlights are plentiful throughout, from the creepy, lo-fi ambient swirl of "Last I Heard (...He Was Circling the Drain)" and "Dawn Chorus" (a blissfully dewy-eyed early morning soundscape), to the low-slung, post-trip-hop hum of "I Am A Very Rude Person" and the fizzing, jazz-fired thrust of "Impossible Knots". Melancholic, yes. Deep and self-effacing, of course. Nihilistic, not really. Percussive futurist sub-pop is back.