Back catalogue: All genres

Review: Following on from 2022's critically acclaimed, Mercury Prize nominated debut LP The Overload, crossing over the bridge provided by last year's absurdist, Black Mirror-indebted eight-minute stand alone single 'The Trench Coat Museum', everyone's new favourite Leeds based post-punks Yard Act are set to capitalise on their momentous winning streak with the highly anticipated sophomore effort Where's My Utopia? Recorded in collaboration with Gorillaz member Remi Kabaka Jr handling production duties, sonically the band have opted to open their playful dynamic to as many sprawling influences as possible, simultaneously leaning into synth-laden new wave territory whilst citing Fela Kuti's political messaging and worldly psychedelia as an integral aspect. As lyrically snide and sharp as ever, the reliable brand of tongue-firmly-in-cheek socio-political commentary reaches ludicrous new heights when unpacking the band's success to date, their self-awareness of being signed to a subsidiary of a subsidiary of another soulless corporation aggressively at odds with the members' personal ethos, and even the increasing admiration/begrudgery that stems from the ascension within the eyes of their supporters. It's all clever, dense, humorous and delivered via an onslaught of razor-focused bangers. In essence, it's Yard Act.

Review: Incidentally sharing the name of a pioneering East End gangster film of the same name - one of the first films to receive an 'X' rating - Yellow Balloon was also the name of this psychedelic "sunshine pop" band from Los Angeles. Filled with brow-beaten jaunts, scatting bops and tambourine shakes, this fab fivesome's first and only album is an excellent foray into the late 1960s zeitgeist, not to mention the enduring talents of the band's leader Gary Zekley.

Review: The third full-length studio album from Singaporean singer-songwriter-producer Nat Cmiel (aka yeule) released to rave reviews earlier this September, following an ethereal rollout with singles 'dazies', 'ghosts' and 'inferno' showcasing exactly what yeule excels at: worldbuilding. 'softscars' is now the 3rd instalment in one of the most exciting album runs in modern alt-pop, shifting away from the glitchy, electronic ambience of predecessor 'Glitch Princess', moving in a more rock-centric, brighter direction. This isn't to say the album doesn't have its soul-crushing moments, opening track 'x w x' closes with a defiant scream of frustration, whilst the drums, guitar and synths fight each other for dominance - bottoming out into a gentle outro sequence. The calm after the storm. We could go on about this album for hours, as a yeule fan it feels so fresh but so perfect with it's oscillating directness in delivery. Whereas 'Glitch Princess' felt like travelling through a clastrophobia-inducing tunnel at time, 'softscars' is that moment you burst out of the tunnel and are hit with a huge green vista. It's my album of the year but, hey, what do I know?

Review: It's been 17 years since we were last treated to a live album from Neil Young and Crazy Horse, and that was a recording of a legendary performance at Filimore East from 1970. This set, which features the band's later line-up, was recorded on the main stage at the Phoenix Festival (remember that) back in 1996 and first broadcast on UK radio shortly afterwards. It's a typically dynamic performance, captured with full crowd reaction for added atmosphere, with the legendary Canadian-American musician and his band-mates laying down terrific versions of favourites including 'Heart of Gold', 'Rockin' In The Free World', 'Cinnamon Girl' and 'Like a Hurricane'.

Review: Brandee Younger has always been a unique artist: a harpist who frequently utilises the instrument in a wide variety of (sometimes surprising) musical contexts and whose impressive CV also includes work with hip-hop luminaries such as Common and Ryan Leslie. On her fifth solo album, and second for Impulse!, Younger continues this adventurous but highly entertaining approach, offering up a mixture of original compositions and Dorothy Ashby covers that frequently draws influence from hip-hop, smooth jazz, modern soul and fusion. Highlights are plentiful, with our picks including the luscious, harp-laden soul head-nod of 'Brand New Life' (where Mumu Fresh delivers a sublime lead vocal), Pete Rock hook-up 'Livin' And Lovin' In My Own Way', and the duelling harp and vibraphone solos of the vintage Roy Ayers-inspired goodness of 'You're a Girl For One Man Only'.