Back catalogue: Indie/Alternative

Review: After 15 years of live space-rock improvisations and jam sessions around Europe, Bambi Davidson finally got round to delivering their second LP last month. Warmly received by old fans and new, here we find the title track repurposed as an extensive 13 minute exercise in spatial expressionism. Dreamy, deep and full of endless twists and turns, this is the epitome of modern cosmicity. Claremont never cease to surge forward.

Review: 2022's stunning album Once Twice Melody was a fine example of Beach House doing what they do best - living bang up to that name, with intimate-but epic instrumentation falling somewhere between surf-y jangle and grand shoegaze. 'Become' is definitely on a similar tip, and as such feels much like an extension of the long form.
Dig a little deeper, though, and scratches begin to show. While the full-length record represented Beach House reaching for the stars, or at least the moon, and stepping into the role of festival headliners, here the sense of pure confidence and occasion is less pronounced. That may not be a bad thing, mind, because while Once came across like a finished article, refined and prepared, things here seem somehow rawer, as though we're sitting in on a session as oppose to getting the signed off product.

Review: Founding Bees members Paul Butler and Aaron Fletcher recorded the original Sunshine Hit Me on the Isle of Wight in their own home garden studio which they called The Shed. A year after release in 2003 it got recognised with a Mercury Music Prize nomination and spawned some big singles. Now, 20 years on, it arrives once more but in an all-new and dubbed-out fashion. The six cuts include three which have never previously been released in any physical format and bring a fresh dimension to the originals.

Review: Word of a sixth album from Big Thief comes with their latest track 'Vampire Empire'. First debuting live on Stephen Colbert's Late Show in March 2023, its lyrics express an inner conflict at "vampire empires", of the tendency for relationships to err towards toxic, parasitical and contingent mindsets and a rallying cry for infinite and unbroken loves. A fixture of their many live shows for at least a good few years now, we're pleased to finally be seeing the official release of this gem.

Review: Reading shoegazers Blueboy are the real deal - top-tier within its genre up there with the likes of Lush, Slowdive and Cocteau Twins. They left behind a remarkable back catalogue with releases on the legendary Bristol label Sarah Records and the Shinkansen label in the 90s. To our joy they've returned to do some live shows and release their first new music in 25 years in the shape of this banging single 'Deux'. Anyone who has even the slightest inclination towards the dreamy ambiance and power that the shoegaze genre offers can do a lot worse than buying 'Deux' - it is a slice of nostalgia and has a timeless quality to it. The B-side is less poppy but highly atmospheric and evocative. A triumphant comeback.

Review: Blues Lawyer returns to Dark Entries with a fresh new 7" that revives some late summer sun with lovely alt-pop grooves. This new one comes hot on the heels of their debut on this label and expands the Blues Lawyer universe across four tunes that were recorded in the final days before Elyse Schrock - the band's singer, songwriter, drummer, and music video creator - left her Bay Area home of ten years to head for somewhere cheaper to live. There are new songwriting styles evident here on tunes like 'True Love's Only Name' which guitarist Ellen Matthews developed with lyrics by Miller and singing from Schrock. It is one of a great mix of tracks that show real musical development from Blues Lawyer.

Review: Being a 'supergroup' - as Boygenius trio Julien Baker, Phoebe Bridgers and Lucy Dacus are commonly described - has its pitfalls, one of which is finding time to record and promote your music. It was for this reason that it took the threesome almost five years to record their debut album, The Record, which was released to critical acclaim (the NME called it an 'instant indie classic') earlier this year. The fact that 'The Rest', an EP of unheard songs (literally - no previews were available online prior to release), has followed so quickly suggests that it was recorded at the same time. Either way, it was produced by the band alongside a team of six producers) and delivers more memorable songs in their now familiar American indie-rock style. A treat for fans, all told.

Review: The 60s Liverpudlian rock quartet are famed for their song '6 Day War', which has been sampled from the likes of DJ Shadow in Tokyo Drift and Pusha T on his album released earlier this year. This track is undoubtedly a classic, written in the aftermath of the ongoing Arab-Israeli war of 1967, '6 Day War' is one of the best anti-war tracks of all time. The slow jam-rock ballad comes from the band's album 'Oh What a Lovely War!' released in 1973 which has not been released in Britain until now, making this a landmark pressing. The record is a psychedelic soft-progressive rock LP with emphasis on heavy guitars like in 'Lay it Down' and even pulls from folk rock in 'Dirty Delilha Blues'. Colonel Bagshot were almost criminally overlooked, though their music seems to consistently stand the test of time and it's easy to hear why. The sound is quintessential Liverpool rock, even down to the naming conventions being evocative of The Beatles.

Review: Experience two of Joy Division's iconic post-punk tracks like never before with exclusive 7" vinyl from Numero Group. Codeine's 1994 rendition of 'Atmosphere' captures the essence of solitude with a melancholic yet melodic twist that marked the iconic Manchester band's poignant farewell. Meanwhile, Bedhead from Dallas offers a fresh perspective on 'Disorder' and transforms it into vibrant indie rock. Encased in a sleek black and silver sleeve adorned with embossed braille lettering, these twin readings pay homage to Joy Division's enduring legacy while inviting listeners to explore new interpretations of their timeless classics.

Review: XL boss Richard Russell's Everything Is Recorded returns with 'Porcupine Tattoo', an unexpected yet compelling collaboration with Bill Callahan and Noah Cyrus. The track, released via XL Recordings, came about during sessions at LA's infamous Chateau Marmont hotel, when Russell asked Callahan who he'd most like to write a song for. Callahan's surprising answer: Noah Cyrus. The result is a stripped-down folk tune with subtle gospel undertones, featuring Callahan's deep, pitched-down vocal layered alongside Cyrus' delicate voice. Russell's production, iminimal yet atmospheric, ihighlights the contrast between Callahan's gravelly tone and Cyrus' ethereal presence. Recorded during a rain-soaked week, the track evokes a sense of melancholy and intimacy. On Side-2 'Norm', is a tribute to comedian Norm Macdonald, featuring only Callahan. This release continues Russell's tradition of creating genre-blurring, evocative collaborations.

Review: It may be debatable whether B-sides still exist in the here and now, yet beneath the very slightly prosaic title of this compendium lurks the work of an outfit who - despite having essentially surfed along a very definitive wave of sun-dappled languour since their inception - are capable of delivering offcuts that are every bit the equal of most folks' hits. True, the Spinal Tap insult of 'the musical growth rate of this band cannot even be charted' could be applied to Beach House, but when their catalogue over the ten years of their existence esentially consists of a variety of themes on opiated bliss, we're only too happy to embark on the ride.

Review: Following a few years spent focusing on his ambient, drone and instrumental shoegaze focused GLOK project, former Ride man Andy Bell has finally got round to recording a new album of songs. Titled Sonic Cathedral, the album is undeniably nostalgic in tone, not only reacalling the jangly and sonically dense days of shoegaze and jangly indie-pop, but also the funkier and more intoxicated indie-dance records of that period (think Weatherall productions and remixes of the period, the Stone Roses and - whisper it quietly - Candy Flip). It's a bold and hugely enjoyable blend, with Bell sashaying between the tactile, Spiritualized-ish 'The Notes You Never Hear', the krautrock-goes-funky flex of 'Space Station Mantra', the Beck-esque 'Music Concrete' and the Tony Allen/Afrobeat-influenced 'Apple Green UFO'.

Review: Every once in a while, you get a band emerge from the vibrant London music scene that you notice aren't like all the other bands. You sense they have something a bit special. BC, NR are like that - they offer something so rich musically that it appears immune to any potential threat that could come from changing trends. This third studio album of theirs comes under what looked like difficult circumstances from the outside. Their lead singer and songwriter Isaac Wood left the band shortly before the release of their second album. But they've withstood the pressure incredibly and are on top form here. There's more emphasis than ever on sharing the role of frontperson so the album is like a smorgasbord where you sample different voices and songwriting styles that exist within the group. Lead single 'Besties' is violinist Georgia Ellery's. It thrives off of its dynamism with explosive Phil Spector-esque wall of sound moments set in alongside elegant indie folk. A truly massive chapter awaits.

Review: During recent interviews, James Blake framed Playing Robots Into Heaven, his sixth album, as a kind of return to his club roots - an idea borne out by his decision to structure the album as a kind of imaginary "night out raving". Of course, this is Blake we're talking about, and while the album does lean heavily on the post-dubstep sound that made him famous (which itself drew as much from experimental electronica and outsider pop as dubstep, house or techno), it's not like he's suddenly turned into Ben UFO, Scuba or Mala. It's a highly enjoyable album, though, and one that combines his most familiar and cherished elements - heavily treated, emotive vocals, piano motifs, woozy electronics and ghostly chords - with grooves rooted in techno, house and UK bass. If you're a fan, you'll love it.

Review: Dean Blunt is nothing short of an enigma. Whether you're reading one of his interviews of few words, listening to the records that seem to both celebrate the avant-garde and obsess over it, or watching him descend into strange, otherworldly cacophonies on stage, usually shrouded in smoke, he's never really been an easy guy to pin down. And that's exactly what he's always been going for.

It's something of a surprise, then, to learn that Black Metal 2, the long-awaited, seven years in the making sequel to his critically acclaimed Black Metal, is actually pretty straight forward. In a Dean Blunt kind of way. Opening on the compressed strings and near-spoken word of 'Vigil', the record takes us into the deep dark depths of strange, hook-fuelled guitar poetry, and we never want to find our way back.

Review: It has been some five-plus years since the last full Bon Iver album but the wait has been well worth it. This one follows the introspective SABLE, a sparse, vulnerable EP born from isolation and inner turmoil. Where that was shadow, this is light-a lush, radiant celebration of love, connection and emotional rebirth. Written at April Base in Wisconsin with collaborators like Jim-E Stack and Danielle Haim, the album leans into clarity and intimacy and gets rid of the signature dense abstraction for more honest and heartfelt pop. The vocals are delivered with openness and purpose as they explore desire, hope and devotion. While still acknowledging lingering shadows, this full-length is a story of growth that isn't about fairytale endings, but about the lessons love teaches.

Review: British Sea Power's Do You Like Rock Music? is a triumphant exploration of anthemic rock soundscapes. Released in 2008, the album captures the band's distinctive blend of indie rock, post-punk, and art-rock influences. The tracks unfold with a dynamic energy, featuring soaring guitar riffs, atmospheric arrangements, and emotionally charged lyrics. Standout songs like 'Waving Flags' showcase their ability to create powerful, stadium-worthy moments, while the album as a whole exemplifies British Sea Power's penchant for crafting a cohesive sonic journey. As such this record solidified the band's reputation for delivering ambitious and compelling musical narratives, and this deluxe version contains an additional ten tracks culled from radio sessions and B-sides.

Review: Spell Blanket - Collected Demos 2006-2009 by Broadcast offers a rare glimpse into the creative process of Trish Keenan and James Cargill during the post-Tender Buttons period. This compilation features songs and sketches drawn from Keenan's extensive archive of four-track tapes and MiniDiscs, laying the groundwork for what would have been Broadcast's fifth album. The recordings showcase the duo's experimental approach to music-making, with Trish and James exploring new sonic territories and refining their distinctive sound. The photography used in the artwork is captured by Trish and James themselves, adding a personal touch to the collection. Designed by Broadcast's long-time collaborator Julian House, the artwork complements the nostalgic yet forward-thinking nature of the music.

Review: If any album comes close to the beauty of Crosby, Stills & Nash in 2025 it's this. It's difficult to imagine anyone else nailing melodic, acoustic guitar-oriented music that treads in gospel, blues and pastoral psychedelia better than this supergroup. Could Bernard Butler be on his way to another Mercury Prize nomination with this? They've got a strong case for it. The band itself is something a little different and formed by popular demand. Norman Blake (Teenage Fanclub) Bernard Butler (Suede) and James Grant (Love and Money) originally got together for one occasion, at Saint Luke's in Glasgow in 2022 for Celtic Connections, but the power of them together was so great they've been talked into putting an album out. They've gone about it in quite a pragmatic way, with each member labelling which songs theirs, as opposed to all trying to write the same song at the same time. Makes sense really.

Review: Rainn Byrns looks so fresh faced and young that one suspects his parents don't remember the 1960s, let alone him. Nevertheless, the decade has clearly a big influence on this Texas-born, Swindon-bred South Londoner's music, although within that there still remains quite a lot of scope for variety. 'I'm Her Man' echoes the battered but innocent psyche of Syd-era Floyd, 'Never Ending Story' the strut and swagger of The Doors and then the approachable weirdness of late Beatles, and everything from The Byrds to Simon & Garfunkel crops up elsewhere. There's nothing cynical or engineered about that though, it seems entirely natural and Byrns proves himself both capable of penning a memorable melody but also delivering it in an endearingly stoned Southern drawl. 'Tailspin', which reminds us of The LAs at their jangly finest, was our favourite entry point, but there are loads here and lots to like.