Back catalogue: Rock (All)

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: 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: Modest Mouse's Good News for People Who Love Bad News marks its 20th anniversary with a reissue, offering fans a chance to rediscover the album's enduring brilliance. Originally praised for its unique fusion of rock, folk, and indie sensibilities, the album remains a standout in the band's discography. Featuring remixes from Poolside, Justin Raisen, MGMT's Andrew VanWyngarden, and others, the expanded digital edition breathes new life into familiar tracks. Meanwhile, the vinyl reissue comes with a new eight-page booklet, adding depth to the listening experience. Good News showcases Modest Mouse's ability to craft anthemic yet introspective songs, as demonstrated by the timeless appeal of tracks like 'Float On' and 'Ocean Breathes Salty.' Despite lineup changes and the pressure to follow up their acclaimed predecessor, The Moon & Antarctica, the band delivers a cohesive and captivating album that stands the test of time. While some tracks may falter in comparison to the album's highlights, This reissue is a reminder of the band's enduring influence and their ability to consistently push the boundaries of their sound.

Review: Back in 2019, American power-pop trio Muna swept in to save the day with their second studio album, Saves The World. In contrast to 2017's About U, their sophomore effort is more of a universal appeal to recovery than valentines' letter, dealing in themes of addiction, alienation, romantic desolation and cycles of abusive behaviour. Sonically, the palette is weird, dreamy and bright, working in Goldfrappy gated snares and stabs to candid pop and trap progressions. A beautifully glossy, clean but still left-of-field, uncanny record.