‘Antiphon’ takes them back to their roots. They sound more American, more classic and there’s a feeling you’ve known the songs for years. ‘Antiphon’ is a perfect assertion to start with.
FOURtyFOUR sees Gentleman’s Dub Club going back to old reggae roots with a variety of classical reggae mixed with their trademark dub and 2 tone.
However, they sleepwalk through the majority of the album, meaning listening to it in its entirety makes you feel like you’ve taken a tranque dart to the neck.
Maria Lindén of I Break Horses can just sprinkle those beats all over my record collection whilst I dance tippy-toed on the layers of reverbed vox, so ethereal I'd actually be floating in mid air.
Nice yes, but we find ourselves looking for an “Eat Me. Drink Me” to take the adventure on a different direction.
If you like your indie mod rock neatly pre-packaged and ready for mass consumption, then you’ll love humming the easy to remember chorus melodies as you strut around Glastonbury ’14 in a straw hat.
Overdone’ rapidly takes on a Bollywood vibe. This, blurred with the kind of vocals and drumbeats you’d expect, suggest evolution, and not a complete move away from the early days.
Just because something is popular doesn’t mean it’s shit. And anyway, this band clearly aren’t like, Rihanna or Bieber or Queen B in their popularity.
Little Dragon are back, so ring the bell: it’s [press] play-time.
Embrace have succeeded in creating a giant, glittering pot of gold out of loads of ingredients
Brody is back.
"Dirty, psychedelic, industrial and undeniably sexy" - Let's get down with The Amazing Snakeheads...
The incomparable Pixies return after a 21 year dry spell, but was it worth the wait?
Grace Jones eschewed the expectations of her colour by hoovering up the rock, art-pop and new wave palettes like cheap cocaine
Smoky, classic 70s rock, influenced by bluesy lyrics and pace, with some good ol’ country to boot.
He’s in complete command of this album, changing the atmosphere from being fun, comfortable and up-beat to being something more slow and mournful.
A stunningly good debut from lynchpin of the Bury St Edmunds scene.
Tune-Yards' 3rd album still playful but produced
It’s more a mismatch of noises that clash together to eventually form a somewhat pleasant sound.
Blitz Kids have succeeded in continuing their roll of high quality albums which I think is safe to say excuses the delay they’ve had in releasing the album.
They already have their own loyal followers drooling at their every move and it’s no wonder as they don’t half knock out a good tune or three.
A sound that’s as crisp and fresh as a sharp frost on a winter’s day as the wind blows in, from over the Shropshire hills.
Good build-up, but missed the point
They're longing for a flight, we're longing for them to broaden their musical horizons.
Go on this musical journey - you'll love it.
The sound is a folky post-rock, sharing roots with Sigur Ros, Of Monsters & Men and Mugison, albeit with a large dose of Talk Talk.
The picture it paints is of a band destined to implode almost from the beginning, due to personality clashes, the pressure of success and opposing ideas of what The Clash should be.
Musical serenity drenched in happiness.
A great clash between the music scene of now and then.
Well crafted, well played but ultimately a little too middle of the road to truly excite.
Gothy post-punk is in rude health.
Seventh album from Constellation's most interesting if challenging band. Hard listening but rewarding.
Skindred are one of those bands who refuse to be pigeonholed and their fifth album is no different. More polished and produced than previous releases, 'Kill The Power' is still full of their signature rasta-metal stylings.
Post-rock heroes hit the peaks with their most consistent album yet.
For full satisfaction, ignore the players and concentrate on the music.
Esmerine add Turkish & Middle Eastern influences to their already beguiling post rock
She really wins me over with her penultimate track Dust & Coal, an infectious little guitar lick alongside solid harmonies.
The pioneers of stoner-rock have returned to reclaim the beard-and-mirror-shades look from ZZ Top. Dave Wyndorf and his crew are back with 'Last Patrol', Monster Magnet's tenth studio release, comprising nine tracks of classic material.
Efforts to spice things up with the addition of Flux Pavilion works especially well on the swashbuckling ménage a trois of Gold Teeth