Back catalogue: All genres

Review: Africa Unite (named after one of his 1979 tracks) is an album that finds Bob Marley's greatest tunes all reworked in a contemporary Afrobeat style by fine modern African musicians. It's a great project that Marley himself would surely have approved of and would have no doubt been involved with had he still been around. Often times the vocals are left quite similar to the originals, but reworked into languid electronic rhythms with nice noodling synths and plenty of brass and horns. Standouts for us include 'Redemption Song' (feat Ami Faku) and 'Three Little Birds' (feat Teni & Oxlade).

Review: And they're back, Mumford and Sons, the London group who aren't afraid to throw an obscenity into their chart topping numbers. Expect a melodious melee of instruments to dance around your ears as you lay them down upon Delta for a superfluous display of what can only be described as old-fashioned yet fandangled exotic folk. It presents their fourth album and first since 2015 (Wilder Mind) and this time around, furthermore, you will hear the four piece dabble in jazz while blending electronica with the acoustic, produced so eloquently under the watchful mind of Paul Epworth. Our recommendation: "Guiding Light", "Rose of Sharon" and "Woman".

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.