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Review: That title is an eyebrow-raiser, yet still more surprising about this second album are the chances that cocky, controversial 1975 frontman Matt Healey has been prepared to take with the sound that his band rode to enormous success on via their debut. Certainly this album may largely sound custom-designed for radio airplay, yet within this framework Healey has moved from the guitar band swagger of yore to a more emotionally charged reinvention that throws '80s-style hooks, innovative production trickery and his mixture of chutzpah and charm into the fray to create a vibrant and unexpected art-pop melange.

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: 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: Maintaining his trajectory into the upper echelons of alt-pop with carte blanche to do as he pleases, James Blake returns with his sixth studio album Playing Robots Into Heaven. From his brief dalliance with the post-dubstep underground into his sombre strain of electronic indie songwriting, Blake has confounded expectations at every turn and the drop of lead single 'Big Hammer' should maintain that trend. There's no big vocal turn from his delicate voice, but rather a twitchy, sub-loaded beat somewhere on the outer edges of trap with some diced up MC samples, pointing to an exciting foray into unpredictable waters from a truly gifted major league maverick.

Review: Lloyd Cole & The Commotions - Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine - were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University. A paragon of 'well-read pop music', this might be considered an form of art pop, being the debut that cemented Cole's intellectual reputation, and perhaps a prototype of the popular 'softboy' trope from the early 80s. Crisp soft proto-indie rock and haunting, near gothic synths underlie hits such as 'Forest Fire', sure to rouse emotions even in the coldest and most book-shy of listeners.

Review: After a 16-year hiatus since 4:13 Dream, The Cure returns with the anticipated Songs Of A Lost World. The first single, 'Alone', marks a powerful resurgence for the band. Unlike the somewhat unfocused production of their last album, 'Alone' brings back the bold, expansive sound fans have longed for. It's a stunning track, filled with emotional depth and lush instrumentation, blending synth strings with chiming guitars. Robert Smith's voice remains as poignant and expressive as ever, defying time with its raw, emotive power. The song feels like both a return to form and a bittersweet farewell, hinting that this may be the band's swansong, while the five album songs trailed live in recent years, as swansongs go this is a hugely impressive one.

Review: Songs Of A Lost World is Robert Smith and co's first studio record since 2008. In the lead-up to the release, the band dropped cryptic social media hints, mailed postcards revealing the album's title and release date, and even placed a poster at the pub where they played their first show in Crawley. Recorded at Rockfield Studios in Wales, this album is the band's 14th, featuring the core lineup of Robert Smith, Simon Gallup, Jason Cooper, Roger O'Donnell, and Reeves Gabrels. Smith, together with producer Paul Corkett, oversaw the arrangements, while long-time collaborator Andy Vella designed the album's artwork, which showcases Janez Pirnat's 1975 sculpture Bagatelle. Smith has stressed that identifying the opening and closing songs is crucial for the album's development. A record that digs deep into darker, more personal themes, echoing the intensity of their earlier work, the release also includes two live tracks, 'And Nothing Is Forever' and 'I Can Never Say Goodbye', from their Shows Of A Lost World tour.

Review: This live album captures the raw energy and emotional depth of a legendary goth band's performance, showcasing their latest work in its full, unfiltered glory to an intimate crowd (albeit with a massive global streaming audience). Debuting the entire new album for the first time to an eager London crowd, the band delivers a powerful, immersive experience. Tracks like 'Alone' and 'End Song' stand out as some of the most hauntingly beautiful and intense pieces in the band's catalogue, with the live setting amplifying their emotional weight. The band's iconic sound, a blend of atmospheric melancholy and brooding intensity, resonates deeply, drawing the audience into every note and lyric. The live rendition of these songs adds a new layer, with the crowd's energy and the band's commanding performance elevating the material. Since its release, the accompanying live album has been met with widespread acclaim, charting in the top five across numerous countries, proving that the band's impact remains as potent as ever.

Review: If there's been one defining element of 2017 so far, it's been the stress that it's put a good proportion of the Western world under, and with this in mind it seems that there couldn't be a better time for a new Elbow album, and for the always mildly world-weary yet magnanimous and uplifting strains of Guy Garvey and co. to offer succour. Just as well then that it's perhaps their most richly crafted effort to date, offering warm optimism, a widescreen sweep of sound and their mainman's plangent croon in full effect, amidst an aural landscape that will do more than satisfy long terms fans of their elegiac art, rather something of a balm for these afflicted times.

Review: 'Marking My Time' is the second EP from Elmiene. The six-track EP includes the title track 'Marking My Time', which first debuted on Later... With Jools Holland, 'Mad At Fire' (co-written by Syd and produced by Lil Silva), and 'Mama' (produced by Sampha), along with the current single 'Someday'. The follow-up to Elmeine's debut EP 'El-Mean', released earlier in 2023, this one hears a worthy continuation of the Oxford-born soul singer's growth, sprouting outwards from his influences and into his own true niche.

Review: Elmiene's latest offering presents a smooth, immersive listen, blending soulful electronics with subtle, emotive melodies. Opening with the tender 'TLC,' the release quickly establishes its intimate mood, which is carried through tracks like the lush 'Light Work.' 'Crystal Tears' shifts to a more ambient space, while 'Ode To Win' builds a contemplative, understated momentum. The release really comes alive on the second side with 'Sweetness' and 'Until It's Dust,' where the production deepens into something atmospheric and hypnotic. 'Dark Out (Season of Thieves)' adds a touch of brooding intensity, and 'Anyways' closes on a contemplative note.

Review: The new candidate for the nicest guy in rock, Sam Fender has built a reputation for writing about touching subjects. And his new album, produced by none other than The War On Drugs' Adam Granduciel, doubles down on that approach. The chamber rock ballad 'Remember My Name' is written from the perspective of his late grandad, nursing his grandmother, who was suffering with dementia. It's a real tear-jerker thanks to the ornamentation in the arrangement and Fender's soaring vocals. The title-track is a another stand-out here and much more upbeat - like light and day compared with the harrowing feel of 'Remember My Name'. You can hear Adam Granduciel's influence here and in some ways, it sounds like a sequel to The War On Drugs' 'Under The Pressure', which is no bad thing.

Review: Glass Animals' fourth studio album, I Love You So F***ing Much, arrives in both vinyl and CD formats, with this being the latter. It marks a welcome return almost four years after their chart-topping single 'Heat Waves' which took them to all new levels go global game as the best-selling single of the year. Frontman Dave Bayley's global rise during the pandemic inspired the album but despite the success, testing positive for COVID-19 meant they missed the 2022 Grammys ceremony after being nominated. The record delves into the challenges of fame and is poised to elevate the band to new heights.

Review: I Love You So F***ing Much is the fourth studio album from English indie rock band Glass Animals. It comes almost four years after their epic 'Heat Waves' single rose to the top of the charts and was partly inspired by frontman Dave Bayley's experience of becoming a global sensation. Because that success came in the pandemic, the band were forced to miss the 2022 Grammys at which they had been nominated for Best New Artist cause they tested positive for COVID-19. The record is another surefire success that addresses the pitfalls of fame and will likely take the band to all new levels.

Review: Life has been a bit of a slow burner for Oxford-born Glass Animals. The four-piece first began to garner 'real' attention in the run up to their 2014 debut album, Saba, with the single 'Gooey' doing them no disservice in the popularity stakes. Follow up How To Be A Human Being found itself on the Mercury Music Prize shortlist, but it was only really when LP three then hit number two in the UK albums chart and seven in the Billboard 200 that we can say they really reached the heights of fame, almost a decade into their story. That was then, though, and this is now. Four years, and one pandemic later, Glass Animals drop I Love You So F***ing Much, a record that fully commits to mainstream pop discourse, moving the outfit away from their psyche and electronic indie roots. The formula certainly suits, with the record a rich and largely joyful trip into a world of arena tours and anthems.

Review: Repeatedly mispronounced Los Angelean sister act Haim return with 'Something To Tell You', an upbeat and optimistic tale of making amends to a lost love, moving forward and letting go. The trio channel a Rumours-era Fleetwood Mac style of love song into a modern pop context that sounds as fresh as it does respectful to their influences. Furthermore, building on 2013's critically acclaimed 'Days Are Gone', their sophomore set proves that Haim's prowess as high calibre songwriters, vocalists and multi-instrumentalists continues to demand respect.

Review: The mega successful debut album from indie-pop sister trio HAIM celebrates its ten year anniversary this year with this deluxe reissue. Featuring hit singles such as 'Falling', 'The Wire', and 'If I Could Change Your Mind', as well as a batch of funky remixes from the likes of Cyril Hahn and Giorgio Moroder, this 2xLP is the ultimate edition for fans of the Los Angeles sisters, who've gone on to collaborate with the likes of Vampire Weekend and star in Paul Thomas Anderson films in the decade since. Days Are Gone was one of those albums that was seemingly everywhere in 2013, and the staying power of these Californian soft-rock tinged pop bangers has aged like the snifters offered at a San Fernando Valley wine country tasting.

Review: Since forming more than ten years ago, Inhaler have exceeded all expectations and proven they're among the very best indie rock outfits touring today. They have shaken the nepo baby tag (singer Elijah Hewson is Bono's son) and earned fans' understanding that they're at the forefront of the industry on merit. They have a huge following in their hometown Dublin, where they are set to headline a 20,000 capacity show, and are filling out top venues all over the globe. With this ambitious new album, their live shows look certain to hit new heights. Single 'Your House' is a highlight as it channels the rabble-rousing atmosphere of DFA records legends LCD Soundsystem in the verses, meanwhile stunning gospel harmonies provide spine-tingling backing to Hewson's singing. It's their third album and, perhaps driven by the desire to push themselves, it shows the band run the gamut of pop whilst keeping their indie rock DNA firmly intact - a sparkling addition to the Inhaler oeuvre.

Review: Lany frontman Paul Klein leave us in precious little doubt there that he's lovelorn - almost every song on this self-titled record bemoans some melancholic development in his romantic life, set to a cinematic soundscape that's equally beholden to the synth-starred soundscapes of the '80s and modern R&B. Luckily for all and sundry however, these plaintive and potent laments find a way to alchemically transform base angst into audial gold, arriving on a cinematic plateau in which the dislocation of the modern era is subverted to form a bittersweet party soundtrack looking likely to last the remaining days of summer at the very least.

Review: Nirvana's legacy is one of the most compelling of any 20th Century rock band. The voice(s) of a disillusioned generation weaned to sickness on processed culture, ending in tragedy, the ferociously powerful combination of music and message has understandably been long-lasting and still influences people today, but the albums-proper, and sad conclusion, usually dominate conversations about the group's work. Incesticide is proof of how much we're forgetting. Comprising demos, outtakes, cover versions, radio broadcasts, the 1990 non-album single, 'Silver', among other things, much of what's here was circulating among fans in low quality formats prior to the compilation's formal release in 1992, and goes some way to showing off the breadth and scope Nirvana were capable of. An education for the committed and unconvinced alike, grab it while you can.

Review: The Beacon Street Collection was a 1995 album from legendary US rockers No Doubt that they self-released. It was written across several different studios around Southern Claiborne, including at their home in Anaheim. There are 10 tracks in all here and they came in a fertile period for the band just ahead of them exploding with their smash hit Tragic Kingdom album. It has not been available on vinyl before now but comes here on nice heavyweight 180-gram wax and bears all the hallmarks of the sound they would soon be known for all around the world.

Review: The latest project of the singer Rebecca Lucy Taylor, who cur her teeth on the Sheffield musioc scene before heading south, sees her continuing to evolve her sharp, emotionally honest brand of pop. This album leans further into lush, layered production while keeping the confessional, anthemic spirit that made her previous work resonate so deeply. Tracks like 'Big Man' explode with bold rhythms and crisp, shimmering synths, pairing vulnerability with fierce, almost theatrical energy. Meanwhile, 'Love Second' rides a smoother, soulful groove, highlighting Taylor's ability to balance playfulness and pain within the same breath. Her vocal performances are even more dynamic here i full of defiant strength one moment and tender intimacy the next. 'Insert Girl' and 'Hard To Love' deliver some of the album's most affecting moments, weaving percussive pop beats with lyrical reflections on identity, expectation and resilience. There's an undeniable polish across A Complicated Woman, but it never feels cold; instead, the production wraps around Taylor's words like a protective armor. Brief but potent interludes and clever lyrical turns keep the album moving with a strong narrative flow. A Complicated Woman feels like both a natural continuation and a bold new chapter for Self Esteem i pop music that's brave, bruised and utterly alive.

Review: Rebecca Lucy Taylor blows stormy second wind our way with A Complicated Woman, her first full-length release as Self Esteem since the critically lauded Prioritise Pleasure. The record finds Taylor, who cut her teeth with Sheffield indie hopefuls The Slow Club, expanding her signature lyrical honesty and emotional intelligence over an increasingly vivid, ambitious landscape, convoking a potent collective of mostly female voices: friends, bandmates, and collaborators Nadine Shah, Moonchild Sanelly, Sue Tompkins, drag queen Meatball and actor Julie Hesmondhalgh all feature. Recalibrating the well-worn trope of female hysteria in indie rock terms, lead single 'Focus Is Power' channels a mantra first scribbled on a sticker in her parents' shed during lockdown into a full-bodied affirmation of self-worth, echoed by a moving choir and a communal performance in its accompanying video.

Review: Rebecca Taylor arrives at third album A Complicated Woman in a very different place to where she was before the release of her previous full-length, the Mercury Prize-nominated Prioritise Pleasure. Now a bona-fide pop star, the South Yorkshire chanteuse now has to deal with heightened expectations and her own experience of fame. By the sound of A Complicated Woman, she's handling both with aplomb. That's not to say that the lyrics avoid difficult subjects - her own worries remain front and centre - but the delightfully grandiose production, extensive use of choirs and orchestras, and Taylor's own penchant for penning stadium-sized sing-alongs deliver a maximal pop gem fitting her genuine star status. Rotherham's finest has never sounded so good (or, it should be added, explicit - there are some genuinely adult themes on display).

Review: Snow Patrol's The Forest Is The Path marks a poignant return after six years, delving into themes of love from a distance and introspective reflection. Gary Lightbody's lyrical strength shines as he explores the haunting yet distant memories of past relationships, encapsulated in the lead single 'The Beginning.' The song's drifting melodies and powerful chorus, recorded in a single, raw take, offer a glimpse into the soul. Produced by Fraser T Smith, the album juxtaposes emotional intensity with a serene acceptance of past mistakes. This mature perspective, coupled with the band's characteristic sound, solidifies The Forest Is The Path as a reflective and cathartic journey. Expect this album to be a welcomed comeback to their fans and a successful charts run for the band. This version is pressed on marbled vinyl and housed in a beautiful gatefold that honours the abstract artwork perfectly.

Review: The Saltburn soundtrack, released on red vinyl, is a great collection of tracks that capture the dark, humorous essence of Emerald Fennell's 2023 black comedy. This eclectic mix of songs enhances the film's twisted narrative. Side-1 opens with Bloc Party's 'This Modern Love,' a nod to the film's exploration of complicated relationships. Ladytron's 'Destroy Everything You Touch' and Cold War Kids' 'Hang Me Up To Dry' continue this theme of emotional turmoil. The infectious energy of Mason vs Princess Superstar's 'Perfect (Exceeder)' adds a pulse to the story's underlying tension. Side-2 is highlighted by Sophie Ellis-Bextor's 'Murder on the Dancefloor,' a playful yet sinister track that resonates with the film's dark humor. MGMT's 'Time To Pretend' and The Killers' iconic 'Mr Brightside' reflect the characters' hedonistic pursuits. The inclusion of the twisted 'Have a Cheeky Christmas' by The Cheeky Girls adds a bizarre, yet fitting, touch to this unusual collection. Encapsulates the film's edgy and eccentric atmosphere in the most ideal way.