Back in stock: All genres

Review: It's been more than 10 years since Foals first ignited indie spirits with their Antidotes LP and following Total Life Forever and Holy Fire, the Oxford-founded group have held firm in purporting their fully fledged sound. The band's aesthetic has grown in size and stature over the years with this LP looking at what seems to be the large scale arena. The lighter, melancholic and finger picking techniques of their surf rock and synth subtleties appear nonchalantly in tracks "On The Luna" and "Exits" - with 80s UK synth and George Michael-styled vocals to boot - while its stadium ecstasy for the chorus humming "Sunday".

Review: Just as indie bands today tend to juggle membership of multiple outfits, shoegaze bands in the '90s were on the just the same wavelength. Luna, for example, received most of its initial attention thanks to Dean Wareham of Galaxie 500's involvement - now backed by new friends Stanley Demeski and Justin Harwood. But music always defies the static expectations of the press. Lunapark, first released in 1992, is a happy opiate of an LP, contrasting to Galaxie's moody, unfiltered aesthetic. With its sound palette largely immaculate, and its crunching guitar chord progressions influenced by blues and Americana - this album could be said to be an ode to overcoming, and/or basking in, addiction.

Review: Johnny Marr's solo debut of 2013, The Messenger showed him channelling his love for classic guitar rock through post-punk dynamics and a sense of urgency apparently abetted by his time spent in Modest Mouse and The Cribs. Keen to establish himself as an artist in his own right rather than a sideman, Payland builds on that album's impact, delivering an impressive salvo of sparky intensity; 'Easy Money' may well be the catchiest and most immediate thing he's committed to wax for decades, whilst elsewhere he brings a chilly frissante to proceedings, seemingly inherited from the like of Wire and Gary Numan. After thirty years of wrenching new inspiration from six strings, it can be a powerful tonic to know that this curiously youthful figurehead is still as restless and driven as ever.

Review: Gothic songstress Chelsea Wolfe makes her illustrious return on the much anticipated seventh full-length She Reaches Out To She Reaches Out To She. Following on from 2021's immense collaborative project with artcore auteurs Converge, the album shall serve as Wolfe's first solo endeavour since the minimal, folk-centric Birth Of Violence released in 2019, while serving as her first output since departing long-time label-home Sargent House (following a diatribe of controversies best saved for another time) in favour of Loma Vista; home to outsider artists of numerous sonic shapes. As this new chapter appears to be marrying elements of industrial fury with complex trip-hop motifs akin to Merzbow producing for Portishead, all the while maintaining her sultry, Wiccan hypnotism; 2024 looks set to be the year of the Wolfe.