Back catalogue: Rock (All)

Review: Sometimes it's just too difficult to contain our excitement; we're quaking in our boots at news of Khruangbin's next release, with the Texan three-piece this time lending their alt-indie-funk mastery to vocal frontage by Leon Bridges. The humorously titled lead single 'B-side' is emblematic of their stated aim here - to redefine "how people perceive Texas music i that beautiful marriage of country and r'n'b i and really paying homage to that." The sonic result? Bubbling bass and wahhy riffs, over a ghostly and misty relaxers' beat. Its hook digs into our thighs deeper than a Sheriff's steel spurs, and fittingly, it's music video is themed after a 19th Century western town.

Review: Kartell's debut album Everything Is Here melds French electronic accessibility with r&b and disco grooves while also drawing on prog rock's esoteric elements and introspective psychedelia. Nostalgic yet forward-looking, it expands on his EPs with dream pop aesthetics and the futuristic allure of the 60s and 70s. Space rock's nebulous textures and ethereal sounds permeate throughout as tracks are anchored by minor-key grooves. The dense, cinematic production weaves a vivid tapestry, integrating live bass, drums, and guitars amid hazy effects and synths to leave you lost in sound.

Review: The past two years have been tumultuous for every band on the planet - the old you-know-what rendering all except the biggest streaming stars and those still holding up on the sales front commercially unviable. Kasabian likely faired better in those stakes than many, but nevertheless the past 24 months or so have been northing short of challenging, with leading figure Tom Meighan's 2020 departure swiftly followed by a conviction for assaulting his partner.

Enter the new and improved incarnation of an outfit that has always straddled a line many falter on - one foot in lad rock for the Stella crew, another dipping its toes into higher concept, more daring and experimental waters. Main man Serge Pizzorno, largely responsible for the more out there moments in the back catalogue, no longer has to compromise with Meighan and it shows. The Alchemist's Euphoria is packed with plenty of ideas, from Latin-ish opener to the grand overdue of 'Scriptvure'.

Review: The Killers have long-since divided opinion. Yes, tracks like 'Mr Brightside' will still fill dancefloors slick with WKD each and every Saturday night, beer boys and party girls and lost freaks and first-timers all joining together in one of the most memorable choruses of the century so far. But then their penchant for OTT pomp and pageantry has always been something of a stumbling block for many 'proper rock fans'. With that in mind, Pressure Machine could do wonders for breaking down barriers.

We're not in Kansas anymore, that's for sure, but instead Utah, and the small town of Nephi, where lead singer Bradley Flowers grew up. The album effectively takes us on a tour of what was and what probably still is, by way of a more salt of the Earth, somewhat intimate and narratively-driven collection of rock 'n' roll tracks that invoke a timeless sense of American guitar storytelling, albeit with some theatrics still intact.

Review: Given that he's been delivering DIY releases as Kitchen Cynics since the late 1980s, it can be to know where to start with Alan Davidson's vast back catalogue. Happily, the Trilogy Tapes has come up with a solution: Beads Upon an Abacus, a career retrospective compiled by Jack Murphy that offers an excellent introduction to the Aberdeen-based artist's distinctive work. It's well worth checking, too, because Davidson's trademark style -a lo-fi and hissing blend of rudimentary electronics, hazy folk revivalism, layered guitar-scapes and oddly traditional instrument choices - is never less than invigorating, alluring and hugely entertaining. If you've yet to bathe in his unique musical explorations, don't sleep on this fine compilation.

Review: Transporting us to a waking dream of Los Angeles, two enigmatic music makers from the City of (Fallen) Angels present a truly stunning journey into hazy half-memories, afternoon fantasies, borrowed recollections and thoughts of things yet to happen. In many ways, Salt & Sugar Look The Same feels incomplete; tracks, half-tracks, movements, bits and pieces feel like our minds often work. Was that what we think it was? Did this happen? According to the official release burb, these 18 brief but beautiful compositions combine finger-plucked guitar work, the lens flare of electronica, and warped samples to create a take on the American primitivism music movement. The result is something that transcends boundaries of sound, time and place, and exists in a world of its own creation.

Review: Kreidler return to Bureau B and not without good reason. Their seventh outing on the highly respected label follows suit on previous exploits, exploring some outer limits of cosmic-leaning, guitar-led, electronically augmented stuff. Tracks that feel made for the hidden dancefloors of weird basements as much as the soundtracks to avant garde science fiction. And if that's too much of a stretch, let's just say 'mesmerising' and have done with it. Comparing and contrasting the warm bleeps and filtered hooks of 'Diver', for example, with 'Tanger Telex' and its strange, smoky brass trip into downtempo smoky heaven serves as a quick example of just how broad yet coherent Twists is. As does 'Arthmetique', a strange, patient thing of rhythmic licks and spoken word, when considered next to the fuzzy, dub-tech-meets-math rock of 'Mount Mason'.