Back catalogue: Rock (All)

Review: It's hard to imagine the esteemed Jagjaguwar label without Angel Olsen. The American singer-songwriter feels like a central figure. She epitomises the absolute quality that they put out year-in, year-out. Her long-standing partnership with them has led to her landing a new imprint named somethingscosmic. Here she's given free reign to release when and how she wants, with help from Jagjaguwar. An absolute dream for her no doubt. This, the second release on somethingscosmic, it's billed as a compilation reimagined as a dialogue; the A-side features artists chosen by Olsen, with each artist choosing their own song for the collection. Side B is a collection of songs from the same artists, but chosen by Olsen and recorded by her. Of the artists on there, Poppy Jean Crawford's 'Glamorous' is dark post-punk with a Kills-esque vocal... it feels like what the definition of rock n' roll should be. Meanwhile, Coffin Prick's 'Blood' (Yep, you read that right... what a band name!) is a great example of reckless psychedelic fuzz. And Sarah Grace White has a stunning, magnetic voice and the music is pared back to let it shine at the forefront of the mix. Olsen clearly has A&R clout and magical release ideas - long may her new venture thrive.

Review: The mesmerising 'Seventeen' and 'Every Time the Sun Comes Up' hitmaker Sharon Van Etten is back. This time with her band so in-tow that they are now named on the album. Welcome the Attachment Theory. This is Van Etten's most collaborative work to-date and the sonics have a more Kraftwerk-ish feel with welcome use of atmospheric keyboard work in there to go alongside her melancholic indie-pop core. The single 'After Life' has a melody that sticks right in your head and feels as moving as anything this merchant of the most raw emotions has ever conjured. If it be known what this singer has for breakfast let us know. She's operating on a whole other level. Expect album of the year nominations for this one.

Review: Few songwriters have the ability to pen a melody that welcomingly sticks in your head for years after you hear it only once but Sharon Van Etten has that. It's especially prominent on the Brooklyn-based singer-songwriter's track from her fourth album, originally released in 2014, 'Every Time The Sun Comes Up'. Fast forward ten years past two more acclaimed solo albums and Van Etten has reached a new phase where she's been writing more collaboratively with her band, hence why The Attachment Theory are named on the record. "For the first time in my life I asked the band if we could just jam. Words that have never come out of my mouthiever! But I loved all the sounds we were getting. I was curiousiwhat would happen?" she says in a press release. And the result of that different approach is staggering. The first single 'Afterlife' shoots like a dagger to the heart and the gloom pop melds swagger and sadness into an atmospheric triumph. This record is likely going to be in many best of 2025 album lists.

Review: Sharon Van Etten is in her most collaborative phase yet. Having made a name for herself as a solo artist on the ever-reliable Jagjaguwar label, we're now seeing the band put front right and centre: The Attachment Theory are named on the record. "For the first time in my life I asked the band if we could just jam. Words that have never come out of my mouth - ever! But I loved all the sounds we were getting. I was curious what would happen?" says the 'Every Time The Sun Comes Up' hitmaker in a press release. The first single 'Afterlife' shoots like a dagger to the heart. It's electro-tinged gloom pop with swagger - an atmospheric triumph. Ultimately, the gushing response from fans bodes well for the record and Van Etten hammers home her reputation for being among the very best in the business at delivering sad bangers. There's a good chance this album will grace many albums of the year lists.

Review: Canadian outfit Viet Cong include members of the much-acclaimed band Women, and similarly take an ambitious post-punk aesthetic and imbue it with their own character and invention. Yet the four-piece have also hit on something unique with this brief, volatile and exciting debut, which simultaneously sounds like a band eschewing genre and getting straight to the point. Abrasive and avant-garde yet fiercely rocking in a cathartic fashion, this self-titled set bodes well for this band's future, laying out a sonic territory that will appeal to followers of Health just as readily as fans of Fucked Up.