Back catalogue:

Review: Italia 90, named after Italy's football team in the 1990 World Cup, are a post-punk band from London. Their debut album 'Living Human Treasure', released on Brace Yourself, showcases the band's politically charged lyrics and taste for wonky rhythms, channelling the band's anarchic, no-effs-given influences such as The Fall and Gang of Four. Fans of angular guitars and ironic '80s not-stalgia will appreciate this debut, and one could easily make comparisons to Still House Plants or Gentle Stranger.

Review: On Imitation of War, songwriter and guitarist Kayla Cohen advances Itasca into rockier terrain, with a suite of smoky nocturnes and uneasy idylls surveying, with refreshing urgency, mythologies and psychologies both classical and personal. Co-produced by Robbie Cody (Wand, Behavior), these ten sturdy set-pieces represent the loosest, leanest, and most smoulderingly electric, guitar-forward recordings in Cohen's deepening catalog. Cohen explains the title as the "performance of war postures" evident at every scale of human and animal life, making war itself, or at least the thing we call war, a fundamental fact of existence. But it could just as easily apply to the revelation that, with Imitation of War, Itasca has finally come to inhabit fully the staged postures toward which former records gestured. She sounds more herself, more confidently authorial than the longing protagonist of her earlier work. This self-knowing sentiment implied in the lyrics of 'El Dorado'; no imitation, formal or emotional, of former self or imagined other, remains.

Review: Released back in 20916, Thanya Iyer's debut album Do You Dream was a gleefully hard-to-pigeonhole affair, with the artist's sweet and evocative vocals rising above a surprisingly eclectic, and at points experimental, musical palette. Kind, her belated follow-up, distils this formula further, with the Montreal singer-songwriter variously combining her evocative vocals with elements of lo-fi jazz, experimental pop, sample-based electronica, pastoral folk, stirring harps and strings, intense jazz-rock noise, ghostly ambient and dusty, slack-tuned trip-hop. That it hangs together wonderfully and entertains throughout, despite its disparate musical directions, is testament to Iyer's growing skill as a performer and producer.