Back catalogue:

Review: It's often the albums that fall between the cracks that are the greatest. Violin virtuoso and singer Andrew Bird and Americana singer-songwriter Madison Cunningham shine a light on the underrated pre-Fleetwood Mac gem of an album, Buckingham Nicks, by fully covering it. Released five years before Stevie Nicks and Lindsey Buckingham went on to have mega success with Rumours, Buckingham Nicks was such a flop commercially that they were dropped by their label Polydor. But it is a cracking album and in covering it in their own style and having a palpably strong musical connection as a duo themselves, Bird and Cunningham have done it absolute justice and changed it. They have shed the 70s pop sheen of the original and made something more timeless to behold. 'Stephanie' is moody, majestic and cosmic and 'Without A Leg To Stand On' is one of the most stirring vocal performances you'll hear in 2024. A highly rewarding listen throughout.

Review: The nearly mythical Buckingham Nicks from 1973, featuring Stevie Nicks and Lindsey Buckingham, has gained significant acclaim despite its original obscurity. With no CD or streaming availability, its tracks are typically found only through rare vinyl copies or dubious online rips. Enter Andrew Bird and Madison Cunningham, whose collaborative project, Cunningham Bird, breathes new life into this largely forgotten album. Produced by Mike Viola, this reinterpretation strips away the original's heavy production, showcasing Bird's exquisite violin and Cunningham's smooth vocals. Their shared harmonies replace the tension that characterised the Buckingham-Nicks dynamic, transforming songs like 'Long Distance Winner' into poignant laments. Notably, 'Lola (My Love)' is reimagined as a heartfelt ballad akin to Dolly Parton's 'Jolene', adding depth to the material. Bird and Cunningham's interpretations not only honour the original but also enhance it, proving the songs' flexibility and enduring appeal. Their unique sound and vibrant acoustic instrumentation, offer a fresh perspective for a new generation, making Cunningham Bird a compelling and accessible homage to a classic.

Review: Violin extraordinaire and singer Andrew Bird teams up with an Americana icon, whose star has risen and is continuing to rise - Madison Cunningham. Bird says of Cunningham that she is one of the most talented musicians he's ever encountered. Together they've covered the 1973 album Buckingham Nicks - Stevie Nicks and Lindsey Buckingham's pre-Fleetwood Mac LP and done a brilliant job of it. Buckingham Nicks was a flop commercially when it was released and despite the duo's subsequent success it was never remastered or re-released digitally, so hard to come by. Thankfully, Cunningham and Bird bring this underrated gem into the limelight and do so in style. "The best reason to cover anyone is that little part of you that thinks you might do it better. This album epitomizes excess and confidence and it only made sense to embody that spirit ourselves," says Bird in a press release. And he's quite right - there's no misplaced arrogance here - they've nailed this homage to a classic.

Review: This is a completely new project the mighty Dr Robert of sophisti-pop hitmakers The Blow Monkeys fame and British folk icon Matt Deighton (Mother Earth, Bill Fay, Paul Weller). The single and title track is a banger: T-Rex-esque glam interlaces beautifull with an earthy acoustic guitar bedding on the catchy number. Elsewhere, things get more pastoral and psychedelic on the hypnotic 'Dude In A Roller'. The record is billed as a duo and sonically doesn't try to sound like anything more than that, which is refreshing in a world of endless layers. It's sometimes about knowing what to take away than what to add to a mix and Dr. Robert and Matt Deighton seem to know this. A truly stellar songwriting partnership that we hope is the beginning of much more to come.

Review: If you're unfamiliar with Dr Robert, we recommend checking out The Blow Monkeys. Robert Howard, as he's credited, formed the iconic new wave and 'sophisti-pop' group in 1981 and his piano keys, bass notes, guitar melodies, vocals and words define the band's sizeable back catalogue. Matt Deighton, meanwhile, might mean Mother Earth, Bill Fay, or Paul Weller to some listeners. He's been involved with them all. Here, the esteemed UK musicians run into one another on Last Night From Glasgow, a treasure of a patron-funded, not-for-profit label out of Scotland's biggest city. It couldn't be a more credible and thoughtful combination. Musically, the result packs crazy levels of musicality, taking a lead from pop, soft, folk and psyche rock to produce a sound which moves between soaring to understated grandeur to deceptively complex and overtly intimate.

Review: Dr. Robert of British 80s pop hitmakers The Blow Monkeys and British folk icon Matt Deighton (Mother Earth, Bill Fay, Paul Weller) have formed a new duo and release their album on the not-for-profit Last Night From Glasgow label. Their respective histories - writing really accomplished pop songs and performing in bands with some of the best artists in the history of rock n' roll - raise expectations, but they absolutely smash them. The title-track is a beautiful marriage of pastoral psych folk and glam rock, where there's melodies to spare and affecting, deeply soulful timbres at every turn.

Review: Howard Devoto, the architect of Manchester's punk scene, once claimed that Magazine's albums were crafted to endure, a sentiment that resonates in their latest offering, No Thyself. Serving as a long-awaited successor to Magic, Murder and the Weather, this album marked a triumphant return after three decades when it landed in 2011. With Noko on guitar and John 'Stan' White on bass, the band skillfully revives the dynamic essence of their early work. Tracks like 'Do The Meaning' and 'Holy Dotage' deliver the urgent post-punk energy that defined their classics, while the more ornate pieces like 'The Worst Of Progress' showcase their more experimental influences. Devoto's acerbic and darkly humorous lyrics remain sharp, reflecting on aging and mortality in tracks like 'Hello Mister Curtis', where he addresses Ian Curtis and Kurt Cobain with wry candour. Amidst familiar sounds, standout track 'Physics' introduces a new direction with its tender melodies.

Review: Miami-born and raised, synth-pop duo Magdalena Bay relocated to Los Angeles and have been blazing a trail with their self-produced music towards the top of the pop world. To celebrate the beguiling aura of their second album, released in August 2024, there's a limited repress of it in a stunning yet chaotic and artsy clear blue. Stacked with bangers, including the ethereal disco single 'Image' and the cosmic electropop epic 'Death & Romance' - which recalls Destiny's Child as much as it does Jean Michel Jarre - Magdalena Bay are clearly brimming with ideas. That they then know how to package these ideas with a cohesive visual aesthetic helps them hugely on their way and at the pace they're going creatively, there's seemingly a glorious road ahead.

Review: LA-based indie-pop duo Magdalena Bay defy the fleeting nature of online trends with their debut LP, an inviting blend of sonic exploration and visual artistry. Entirely self-produced, the music is a testament to Mica Tenenbaum and Matt Lewin's creative vision, a mesmerising journey through abstract theories of time and the "what ifs" of human existence. Tracks like 'The End' and 'The Beginning' bookend the album with a sense of cyclical wonder, while 'Mercurial World' and 'Hysterical Us' delve into the complexities of identity and perception. With its dreamy melodies, infectious hooks, and thought-provoking lyrics, 'Mercurial World' solidifies Magdalena Bay's status as a force to be reckoned with in the world of indie pop.

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: US art rockers The Mars Volta's latest project reveals an ambitious dual-disc journey, encompassing their sprawling range of experimentation. Early tracks like 'Fin' and 'Reina tormenta' establish a dense atmosphere, full of the band's signature unpredictability, with fluid transitions between moments of stark aggression and delicate, jazz-inflected interludes. The album's progression is marked by tracks such as 'Mictlan' and 'Nefilbata', where intricate rhythms are paired with surreal, often dissonant melodies, evoking the mysticism and chaos of their thematic inspirations. As the second disc kicks off, 'Celaje' and 'Vocifero' provide a cinematic depth, layering intricate percussion with droning, otherworldly synths, shifting the mood into darker territories before 'Mito de los trece cielos' bursts through with frenzied energy. The reprise of 'Cue the Sun' and the closing track, 'Lucro sucio', bring the journey to a close, suggesting a moment of reflection within the album's labyrinthine structure. While the album's tracklist is as labyrinthine as their sound, what stands out is the way The Mars Volta remain resolutely themselvesieffortlessly blending their psychedelic rock heritage with new, complex influences, creating something fresh, while never losing the raw intensity that made their earlier work so iconic. This album feels less like a return and more like a rediscovery of what makes them so vital.

Review: Vanishing from public view following his 1979 departure from Siouxsie and the Banshees, John McKay spent the 80s in quiet studio sequestration, fulfilling the end of a Polydor contract through a string of angular, post-punk sketches with early Banshees drummer Kenny Morris, bassist Mick Allen and, later, Matthew Seligman and Graham Dowdall. While some of the material aired under the name Zor Gabor - a short-lived live outfit fronted by McKay’s partner Linda Clark - this record instead takes the musician’s given name. A lone single, ‘Tightrope’, crept out in 1987 via Marc Riley’s In Tape; the rest sat dormant until 2024, when McKay’s later wife Laurie helped revive the archive. Now compiled and mastered as Sixes And Sevens, this eleven-track set cracks open a lost chapter, working through a buzzing art rock temperament, juiced on a jackknifing punk rock spirit pulled, pulped, and spread to the edges.

Review: Cardiff noise-rock legends Mclusky make their long-awaited return with the highly anticipated The World Is Still Here & So Are We. Serving as their fourth full-length and first since 2004's The Difference Between Me & You Is That I'm Not On Fire, the album comes following numerous sparse reunion shows and tours since their initial disbandment two decades prior. First revealed through the release of the Unpopular Parts Of A Pig EP during the latter half of 2023, which would mark their first newly recorded output in 19 years, both the title-track as well as 'The Digger You Deep' were said to be the first tastes of their fourth LP, now making good on that promise with a release set for distribution via Ipecac Recordings, the label of musical absurdist Mike Patton (Faith No More, Mr. Bungle). Having worked in the past with the late, great Steve Albini, even opening for Shellac one fateful evening in London's Scala, the iconic noise-merchants seemingly haven't lost an iota of their bite or shitheaded cynicism during their time away, evidenced as such as in the blistering lead single 'Way Of The Exploding Dickhead'.

Review: Welsh noise-rock royalty Mclusky make their decrepit return on their majorly anticipated fourth album The World Is Still Here & So Are We, marking their first full-length in over two decades, following on from 2004's The Difference Between Me & You Is That I'm Not On Fire. While the Cardiff legends have reformed for brief reunion runs in the past, this time they seriously mean it, revealing their first taste of new material in 19 years through their 2023 EP Unpopular Parts Of A Pig, with the title-track and 'The Digger You Deep' both announced to be featured on their (at the time) as-of-yet unannounced comeback record. Arriving courtesy of Ipecac Recordings, the outsider-rock label ran by vocal absurdist Mike Patton (Faith No More, Tomahawk, Mr. Bungle) and working in the past with the late, great Steve Albini, with the band even supporting for Shellac one fateful night in London's Scala, the chaotic noise-merchants haven't lost one tooth of their bite or snarky cynicism during their long respite, made abundantly clear on blistering lead single 'Way Of The Exploding Dickhead'.

Review: Formed in Phoenix circa 1980, Meat Puppets carved out a very specific sound for themselves under the beating hot Arizona sun. A combination of alternative rock, cowpony, psyche, alternative country, punk and post punk, they also employ elements of hard rock and heavy metal (that solo on 'Automatic Mojo', and the propellant bassline) while stitching together their patchwork quilt of sounds with a six string. Recorded in 1999, Live In Montana showcases the group at their loudest and most immediately infectious. Captured during two back-to-back live shows at the Sundance Club, Bozeman, and Top Hat Club, Missoula, covers of Lionel Hampton, UTFO, Roy Orbison, Holocaust, Black Sabbath and Elvis Presley jostle for position next to original material from these kings of southern curveballs.

Review: Melvins' back catalogue is so strong that they could make a living just re-releasing the hell out of it. But Melvins' Buzz Osborne is a true punk and has such an unrelenting passion for music that they will never stop. The good thing is that he is under no illusions that he's great... Melvins in 2025 sound absolutely incredible, like Black Sabbath good. The line-up for this album takes things back to 1983 as the band's original drummer Mike Dillard makes a relatively rare appearance. It's only the third album he's made with Buzz Osborne, but absolutely is it gold when it happens. Dillard famously played in a short-lived pre Nirvana group with Kurt Cobain called Fecal Matter and there's certainly parallels to Nirvana's frantic approach to drums on this album. In terms of the rest of the music it's tuneful in a heavy way and it's that balance between the two that was the cornerstone of grunge and you can hear how Melvins became such a prevalent influence, playing a role in shaping the sound of Nirvana, Soundgarden and countless others.

Review: The trailblazing godfather of grunge, Buzz Osborne, is the sole constant member of Melvins, but he's not burned his bridges. He's invited back original drummer Mike Dillard (with who he founded the band in 1983), along with Void Maines and Ni Maîtres, for the third Melvins 1983 album, the previous two being Tres Cabrones (2013) and Working With God (2021). They're on the form of their life with the new album; it is ferocious and exhilarating. A standout is the lead single 'Thunderball', which is a celebration of the drums. You can hear Dillard hitting his snare with unparalleled force and nailing countless fills. Meanwhile, Osborne's melodic and heavy guitar playing strikes a perfect balance. Vocally, Osborne has the highest level of conviction; he truly belies his years. And with Black Sabbath calling it a day very soon, we need Melvins 1983 more than ever.

Review: One of the most beautifully constructed and hugely acclaimed albums that was first released in the late 1990's is reissued here and is a reminder of a magnificent selection of music by Mercury Rev that the listener can never tire of. From the sweeping orchestral opening track Holes all the way through to the bouncing Delta Sun Bottleneck Stomp this album provides songs the listener will fall in love with one by one and never turn their backs on. Following on from the brilliant shambolic early releases by the band, Deserter's Songs was made by the band as a swan song of sorts. They were a chaotic outfit at the time with a changing and insecure line-up that finally managed to settle themselves down after the release of this and to end up with a new beginning and an existence that still remains today. Hints of jazz, folk and 60s psychedelia can be found hidden modestly within these melancholic tracks that have influences that can commonly be heard in a lot of albums other bands have released since this first came to the public's attention. Sweet, sad and tender vocals provided by founder member Jonathan Donahue make this an easy listening lovable album that deserves to be in everyone's collection and it's one that once there is guaranteed remain for years to come.
Produced by original bass player and founding member Dave Fridmann this album was recorded around the same time and in the same building as The Flaming Lips legendary Soft Bulletin album (also produced by Fridmann) and albeit a slightly different sounding album to Deserters Songs marks that period of time in The Catskill Mountains (100 miles NW of New York) as one of the most musically rewarding moments of time during the 1990's.
Goddess on a Highway was first conceived by front man Jonathan Donahue almost a decade earlier whilst he was a member of The Flaming Lips and the song was resurrected from an early demo he dug up. The songs' chorus of 'I know...it ain't gonna last' was probably the only thing they got wrong with this masterpiece. This album sounds just as fresh as it did three decades ago. It's been said that Deserters Songs could be one of the best albums ever made. Who are we to argue?

Review: The sixth album from West Coast psychedelic indie warriors Mercury Rev had already been enhanced with a host of extra B-sides and other goodies on a limited edition version when it first dropped in 2005, but this new version sees it further expanding, like the brain of an innocent teenager dropping acid for the first time. The original core 13 tracks are pretty good in their own right, obviously, from the close harmonies of 'Moving On' sounding like a frazzled, baked Beach Boys and the grandiose opener 'Secret For A Song' they show they're capable of achieving multiple moods and rollercoaster dynamics. Luxuriate in that and spoil yourself further with a further 12 flip tracks and outtakes, including guest vocal appearances from Bonnie Kate Anthony on the rather Nilsson-sounding 'I Never Had It So Good' and 'Tennessee Blues' and intriguing experiments like the spaced out synth-and-voice effort 'Good Day'.

Review: Imagine a blend of Henry David Thoreau and Neil Young's 'After the Gold Rush', with a touch of Laurel Canyon introspection and a yearning for something just beyond reach and you're close to the essence of Midlake's breakthrough album. Wistful melodies and enigmatic narratives make for a sonic landscape pitched somewhere between 1871, 1971 and a realm entirely out of time. Tracks like 'Roscoe' and 'Bandits' shimmer with a romantic yearning for simpler times, while 'Head Home' and 'Van Occupanther' delve into the introspective musings of outcasts and dreamers. Its instrumentation is rich and varied, with dreamy horns, rolling guitars and plaintive pianos weaving a tapestry of sound that perfectly complements the elusive narratives. 'Young Bride', 'Branches', and 'In This Camp' showcase the band's vocal harmonies and their ability to craft melodies that linger long after the music fades.

Review: Brooklyn-based Model/Actriz, a four-piece rock band formed in 2016, return with an electrifying new chapter in their career. Frontman Cole Haden, guitarist Jack Wetmore, bassist Aaron Shapiro, and drummer Ruben Radlauer have forged a sound that merges post-punk aggression with noise rock's raw energy. Their latest release is a visceral, direct exploration of both the visceral chaos of their live shows and the darker, more introspective side of their sound. After their debut album Dogsbody earned critical acclaim in 2023, they've recalibrated their approach, opting for a more stripped-down and immediate experience. Tracks like 'Cinderella' and 'Acid Rain' charge forward with the kind of club-ready energy that makes their performances unforgettable, while 'Doves' and 'Audience' offer hauntingly introspective moments. Model/Actriz's commitment to blending queer themes with explosive music continues, pushing boundaries in both their lyrics and sound.

Review: This reissue brings The Modern Lovers' eponymous debut album back to life, a record that captured the raw energy and poetic spirit of the burgeoning American punk scene at its earliest inception. Originally released in 1976, the album features a collection of iconic tracks, including the anthemic 'Roadrunner' - subsequently covered by everyone from the Sex Pistols to Sleaford Mods and Iggy Pop - the introspective 'Astral Plane', and the quirky ode to 'Pablo Picasso'. Raw and yet sophisticated, with influences ranging from the Velvet Underground to garage rock, this is a real treat.

Review: After a string of viral hits as well as a standout live performance documented in front of the iconic Panorama Hotel, which served as the visual centrepiece of their breakthrough album Etazhi, Belarusian darkwave band and viral sensation Molchat Doma now present the vinyl edition of said live performance in vinyl form. Known for their distinct Soviet-era, gothic post-punk, this new live record vivifies three beloved tracks from Etazhi and their subsequent record Belaya Polosa: 'Toska', 'Sudno' and 'Cherne Cvety'. Bleak, washed out and yet never sacrificial of a moment's performative energy, Egor and company weave compelling synth and guitar arrangements about blurry mixes, evoking the desolation of the backgrounded Slovakian landscape captured in the live video. The limited one-time pressing 12" includes the three live tracks on side A and the etching of the iconic hotel on side B.

Review: Argentine singer, songwriter, actress and psychedelic neo-folk high priestess Juana Molina may not be a familiar name to many in the West. But she's been putting out consistently fantastic records since the mid-1990s, debuting with Rara (not including the original score to the movie Juana y sus hermanas back in 1991) and is the sort of artist you don't forget once you discover. Allow Exhalo to open the door on this South American titan of folktronica, casting spells with a combination of lo-fi indie electronic, curveball pop, and progressive folk, with some influences also stemming from her upbringing as the daughter of tango legend Horacio Molina and actor Chunchuna VillafaNe. A deep and captivating listen that seduces you from the word go, this is one not to be missed if you can help it.

Review: Brilliantly described as a label outfit specialising in "N/Ambient", A Strangely Isolated Place welcome the very next LP from equally brilliant music production singularity Monoparts. Trip hop, dubstep and ambient collide on the Polish duo's spiffing debut, which suffered a brief period of production hell and remained accursedly unreleased for years. With Olga Wojciechowska (Scanner, Infinite Distances) on vocals and Tomasz Walkiewicz on production, the pair make an earthbound, rustic statement here, likening the record to the process of "becoming one with the earth itself - feeling the rawness of the wood, tasting the earth in your mouth, and sensing the presence of ancient spirits." As of a manic vision, forest eidola and erl-kings do indeed seem to appear as we play back the opener 'Abandoned Woods', with its fantasy birdsong and lullabying bell sounds scored over pinball drums. 'Invisible Body' murkifies the vibe with filtered snares and breathwork vocals, while latter-record treats such as 'My Reality' and 'Scattered Parts' hark back to an organic era in ambient dubstep, where producers like Jan Amit and Asa ruled the roost as foregrounders of foley sounds for use as drums.

Review: Morphine were far from your average rock & roll band. Combining elements of jazz and blues with more traditional guitar arrangements, all played with what has been described as "an idiosyncratic set of instruments", to say their sound was unusual - somehow sexy and morose, introspective and compelling - would be an understatement. B Sides & Otherwise, as the title suggests, allows us a moment or 12 to indulge in the group's lesser known feats of musical genius. From live radio broadcast recordings, through to almost-made-the-album tracks, this is a great insight into just what an incredibly unique band they were, not to mention wholly innovative. Many elements and techniques here would come to be adopted by the mainstream in later years, marking the troupe out as well ahead of their time.

Review: Vancouver five-piece Mother Mother have been beneficiaries of Tik-Tok's ability to spontaneously breathe new life into songs that were seemingly past their peak. 'Hayloft', 'Arms Tonite', 'Wrecking Ball' and 'Burning Pile' from album (originally released in 2008) went viral in 2020 thanks to user-generated content. 'Hayloft' is the most overt banger on here and straddles the line between experimentality and pop mainstream very well. 'Arms Tonite' has a more off-kilter feel and is melodically and compositionally assured and justifiably done incredibly well. 'Burning Pile', which Tik Tok users will recognise from the so-called lighter transition challenge, has a palpable sense of nostalgia and defiance that will lift anyone who has the fortune of hearing it. Mother Mother's flame shows no sign of dimming anytime soon.

Review: The long-awaited follow up to 2018's Delta, London indie-folk megastars Mumford & Sons return after a seven-year gap (their longest between releases yet) to chart a course back to their original path. Titled Rushmere after a pond located at Wimbledon Common in London, where the band was first formed and music was conceived, their fifth LP marks their first as a trio, following the departure of Winston Marshall in 2021 (who for some bizarre reason opted to allow his politics to prioritise his success and now makes appearances on Fox News). Where the members had gone to lengths previously to shy away from their folk-pop stylings in search of a "new sound", here it's evident that Marcus Mumford and his cohorts have finally become comfortable with their position within the modern music landscape, dusting off the obligatory banjo for the triumphantly anthemic title-track, while the melancholic 'Where It Belongs' utilises weaving, minimalist acoustic melodies and deeply affecting vocal harmonies to conjure a sense of quiet acceptance. In short, this is the most Mumford & Sons the troupe have sounded since their acclaimed 2009 debut Sigh No More.

Review: The Murder Capital sit at the forefront of a new wave of indie that's sprung up out of the Dublin scene after Gilla Band smashed the door down. The band are no longer Dublin-based, but spread out across Ireland, London and Berlin. They grouped together, though, for the recording of their third album in LA, steered by wise Grammy-winning producer John Congleton. The album has this frenetic sensibility running through it and it's what makes them such a powerhouse live act. 'The Fall' is guttural, raw, widescreen and teeming with ambition; 'Words Lost Meaning' is dirtier and wouldn't be amiss in The Kills' set with its sulky, fuzz-laden bass riff offering plenty of swagger. While 'Can't Pretend To Know' is more Nine Inch Nails with noisy tremolo picking on the guitar offering a grandiose backdrop for the charismatic lead vocal. They've leant into their mainstream aspirations here and sound ready to take on the world.

Review: The Irish music scene has rarely been in such rude and varied health. From Galway to Dublin in the South, up to Belfast and Derry in the North, Great Britain's smaller and - arguably - greener little sibling is making a lot of interesting noises right now. Each seems to be as captivating as the next, although few tear out of the starting blocks with anything like the intensity and energy, anger and tumultuous emotion as The Murder Capital. Blindness is album number three, following on from a debut that hit number two in the Irish charts and 18 in the UK, and a second - Gigi's Recovery - that achieved the number one spot in the group's homeland and 16 in the UK. We'd be shocked if part tres didn't do better. Always immediate and packed with personality, we finally hear the culmination of those preceding years. From post punk chug distorted through the fizz and crackle of humanity, though quieter moments deliver even more devastating blows, shades of everyone from The Killers (at their creative peak) to The Watchmen, Pixies, PJ Harvey, Savages and Idles ring crystal clear.

Review: Origin of Symmetry is still the most cherished Muse album by most fans and this live performance of their festival set at Bizarre Festival in Germany captures the Devon rock trio playing songs from it before it was released. The singles 'Plug In Baby' and 'New Born' are on here, as are their debut album Showbiz's best songs 'Muscle Museum' and 'Sunburn. It's truly a mouth watering setlist that makes it understandable how they went from the moderately sized band they were then to one of the biggest bands in the world.

Review: My Morning Jacket seem to just get better and more popular with age. They look and sound the part even now when they're ten albums in. The Louisville psych-tinged soft rockers have a knack for creating spiritually uplifting and soulful tunes that are a balm for hard times and across the ten tracks here leave no fat on the bone - it's a concise collection with the hairs trimmed thanks to an outside producer being involved. Pearl Jam, Rage Against The Machine and Bruce Springsteen big time rock producer Brendan O'Brien was at the controls, which is something of a rarity for My Morning Jacket as they usually self-produce. Of the songs on here, the single 'Time Waited' is instantly memorable and holds a beautiful sentiment as it's about "how flexible time is, how we can bend and warp time, especially if we are following our hearts, the universe and time itself can flow to work with us." Moreover, 'Half A Lifetime' is a jerky feel-good hit that's a welcome summer banger for road trips in a convertible.

Review: There's something refreshing about an album press release that goes out of its way to tell you a band has been around for 25 years, a quarter century no less, building a significant cult following in that time, but have also gone out of their way to sustain "all the curiosity and creative hunger of their very earliest days." So - hats off to Louisville, Kentucky five-piece, My Morning Jacket. The band's first album in four years is their most refined and regal in sound, but that needs to be understood in wider context. My Morning Jacket are known for heavy rock out shows, infused with blues, rockabilly, stoner, sludge metal and Americana. Raw is what they do, and the sense of them just turning up at the studio and getting down and dirty to record another stunner is alive and well here. They're just not afraid to flash a little production spit and polish in the process.