Back catalogue: Punk/Hardcore

Review: Out of print for years, The Prowler, the first ever EP by pop punk stalwarts Horror Section, returns under the aegis of the label Eccentric Pop for one last Halloween season. Pressed for the first time on opaque red (/250) and black (/250) vinyl, the album is an emotive blend of horro r- and pop - variants of the band's genre of choice, more than anything flaunting the infectiously low drawl of lead vocalist Tommy Boyer, amid massive grungey guitar propulsions by the Nick Habit and Teflon Dave. The five tracks are like creepy skeletons in closets, each popping out at the listener like emotive ghosts.

Review: Borrowing a title from a 50ft sport climbing route in Oliana, Spain, there's definitely something big and wonderfully overbearing about the debut offering from Hot Face. Freshly pressed onto London's revered and always-forward thinking Speedy Wunderground imprint, the work here more than lives up to the label's name, going at listeners with pedal to the metal for the most. Comprising two tracks, an original and 'dub', the opener nods to the likes of King Gizzard and other sprawling, epic prog-metal-psyche outfits, offering up huge guitar solos and switching tempos with cunning, guile and groove. Flip it to find the alternative take, which ups the impact of drums, taking us closer to dance music as it's more widely recognised, and the heyday of big beat, if anyone remembers that one?

Review: While influencing a massive array of modern emo, pop-punk and indie-rock outfits, Hot Water Music have made it abundantly clear that they don't feel the need to go home just yet.

Their latest, sad times lamenting opus, 'Feel The Void', sees the group recording for the first time with latest addition Chris Cresswell (The Flatliners), who stepped into the band initially for live settings upon Chris Wollard taking a sabbatical for mental health reasons.

Now, for the first time since 2004's 'The New What Next', the band have opted to work with producer Brian McTiernan, arguably responsible for the three best albums to come from HWM during their 'glory days'.

Beyond a return to form, everything from the anthemic 'Hearts Stay Full' to the muted crawl of 'Ride High', screams of a seasoned group of artists with so much more to say. While often replicated, 'Feel The Void' outsads, outfeels and outriffs any would be imitators, and only further cements a status that really was in no need of maintenance.