Indie

Review: There's certainly plenty to talk about here. British chart-topping and stadium-filling enigmas The 1975 return to prove you really can't predict what the troupe will do next, delivering what would be their most divisive and explorative album if it weren't for the fact they command so much loyalty from fans you could be forgiven for thinking dark forces were at play. 'Notes On A Conditional Form' is easily the furthest we've wandered from the formative years of a band that cut teeth doing teen-punk covers, and it's hard not to notice the subtle theme here. From 'Having No Head', which rides on a sharp house groove, through the garage breaks of 'Yeah I Know', low slung dub of 'Shiny Collarbone' and the shoegaze of 'Streaming', it plays out like a celebration of the breadth and diversity of UK pop culture.

Review: There's certainly plenty to talk about here. British chart-topping and stadium-filling enigmas The 1975 return to prove you really can't predict what the troupe will do next, delivering what would be their most divisive and explorative album if it weren't for the fact they command so much loyalty from fans you could be forgiven for thinking dark forces were at play. 'Notes On A Conditional Form' is easily the furthest we've wandered from the formative years of a band that cut teeth doing teen-punk covers, and it's hard not to notice the subtle theme here. From 'Having No Head', which rides on a sharp house groove, through the garage breaks of 'Yeah I Know', low slung dub of 'Shiny Collarbone' and the shoegaze of 'Streaming', it plays out like a celebration of the breadth and diversity of UK pop culture.

Review: There's certainly plenty to talk about here. British chart-topping and stadium-filling enigmas The 1975 return to prove you really can't predict what the troupe will do next, delivering what would be their most divisive and explorative album if it weren't for the fact they command so much loyalty from fans you could be forgiven for thinking dark forces were at play. 'Notes On A Conditional Form' is easily the furthest we've wandered from the formative years of a band that cut teeth doing teen-punk covers, and it's hard not to notice the subtle theme here. From 'Having No Head', which rides on a sharp house groove, through the garage breaks of 'Yeah I Know', low slung dub of 'Shiny Collarbone' and the shoegaze of 'Streaming', it plays out like a celebration of the breadth and diversity of UK pop culture.

Review: Re-grouped and, if the introductory stomp here is much to go by, re-charged, Manchester's PINS return with a generous helping of sound clash business, melding filthy electro sleaze and playful rock with two deft and confident hands, the results of which should score big with fans of seductive disco sludge. And let's face it that's pretty much most of us. Tracks like 'Read My Lips' and 'Bad Habit' are fine examples of a dark but alluring edge this lot seem more than capable of creating, while 'Daisies' could almost replace Wilson Phillips to score the final scene of 'Bridesmaids'. Which is certainly no bad thing. "We can keep going" the band threaten over 'Ghosting''s compressed but intense rave punk. Based on this, we're more than happy with that idea.

Review: Re-grouped and, if the introductory stomp here is much to go by, re-charged, Manchester's PINS return with a generous helping of sound clash business, melding filthy electro sleaze and playful rock with two deft and confident hands, the results of which should score big with fans of seductive disco sludge. And let's face it that's pretty much most of us. Tracks like 'Read My Lips' and 'Bad Habit' are fine examples of a dark but alluring edge this lot seem more than capable of creating, while 'Daisies' could almost replace Wilson Phillips to score the final scene of 'Bridesmaids'. Which is certainly no bad thing. "We can keep going" the band threaten over 'Ghosting''s compressed but intense rave punk. Based on this, we're more than happy with that idea.