What Am I Going To Do (With Everything I Know) (2:31)
Seemed True (3:21)
Soft Spoken Man (3:08)
Time (2:53)
Almost Careless (2:12)
Review: Tamara Lindeman was at a real transition point in life when What Am I Going to do With Everything I Know was first unveiled. A six track strong EP, here the moodiness and tangible sense of isolation, loneliness, and hopelessness that had once emanated from her voice dissipates into equally tender and gentile thoughts on an impending marriage and all that may come with it. For some, an equally troubling time in their lives, for others something to truly work towards and - when it finally arrives - celebrate, either way it's a subject ripe for emotional songwriting.
But in actual fact, Lindeman, her fiance and troupe treat the concept of matrimony with something close to apathy, or at least lackadaisical 'might as well'-ness. The culmination of this record, 'Almost Careless', sees her ask the question 'what if', but in a way that's neither excited nor nervous, but simply filled with inquisitiveness and a matter of fact consideration.
Review: It was always a pretty weird idea for Weezer to turn their attention on Vivaldi's violin concertos, The Four Seasons, and release a four-part EP series inspired by those classical landmarks. An out of the blue concept given this Rivers Cuomo-led outfit aren't exactly famed for waxing lyrical about the legendary work.
Nevertheless, fans should not be put off, nor should they expect to find a collection of tracks that look to rework Vivaldi via geek surf rock. Well, OK, maybe two of the songs here do exactly that - 'Opening Night' and 'Lawn Chair'. Or at least they both have string and guitar movements that look to pay homage to the master composer. But, for the most part, this is Weezer doing what Weezer do: sounding very much like Weezer.
Review: First released on streaming platforms last summer, Wilco's 'Hot Sun Cool Shroud' EP was uniformly praised by critics. Much more than a stop gap between albums (it arrived roughly 12 months after the outfit's lauded 13th studio full-length, Cousin), the six-track set bristles with inventiveness while flitting between styles and tempos. So, opener 'Hot Sun', a sticky slab of Americana-tinged jangly indie brilliance, is followed by the reverb and solo-laden alt-rock squall of 'Livid' and the gentle, string-laden swoon of 'Ice Cream'. And so it continues, with the fuzzy positivity and weary vocals of 'Annihilation' being joined by the pleasant, impossible-to-pigeonhole experimentalism of 'Inside The Bell Bones' and the twinkling, heartfelt melancholia of 'Say You Love Me'.
Review: Are Working Men's Club the best band to have emerged from northern England in the past decade? We'd say there's a very, very good chance. Catch them live on stage and Sydney Minsky-Sargeant, Liam Ogburn, Hannah Cobb and Mairead O'Connor are utterly captivating, and their combination of post punk, rock, electronica, and acid house transfers very well onto record too. Their DJ sets, for which 'Syd' leads the charge, are also nothing short of quality. Informed by genre-less masters such as Andrew Weatherall, Ivan Smagghe and Erol Alkan, as this latest Megamix goes to show, the idea is to create these deeply immersive cosmic soundscapes that aim directly for the dance floor, taking phrases and sounds from their songs, reworking, rethinking and rearranging them into something fresh and high energy. Impossible not to make an impact.
Review: The accomplished London musician and producer Wu-Lu serves up a new EP on Warp that is actually more like an album here. It is 30 minutes of well rounded sound files with narrative that takes and more nuanced, personal approach than his breakthrough, anti-gentrification anthem 'South' and much loved LP, LOGGERHEAD. The big energy of those is replaced here by a series of diary entries that all take inspiration from growing up in Brixton. These of death and loss feature as do the general struggles of life while poet and artist Rohan Ayinde and award-winning author Caleb Femi also guest.
Review: Glasgow post-punk underdog heroes, The Wake, arguably never achieved nor received the success they were due with their excellent gloomy, shivering early work. Often unfairly compared to Joy Division, which only got worse upon their touring with New Order who were their labelmates at the time; it only feels like now, four decades removed from the release of their seminal debut, 'Harmony', that naysayers have learned to appreciate the work for what a cornerstone of the genre it truly was. The, 'Harmony & Singles', compilation has been reissued on Factory Benelux, then bounced to LTM then right back to Factory again, and here, we arrive at yet another reissue, commemorating a somehow criminally underrated staple of post-punk history, one decade shy of a half-century ago. Post-punk is pushing on...
Review: It's never easy to have a huge breakthrough single and then keep the momentum. But Tom Walker, who shot to massive fame and acclaim through the 2018 hit 'Leave A Light On', seems to have managed it pretty well considering he's gone five years between first record, What A Time To Be Alive, and the September 2024 follow-up, I Am. That's an age in modern music's relentless march and production line gutter ethics. I Am is certainly a case of picking up where things left off on the last long form. The track list is a mixture of hyper emotional main stage acoustic-electronic pop balladry, and quiet piano-vocal solos seemingly poised over your bleeding body, ready to cut heartstrings with a love letter from the loss of your life. Elsewhere, EDM and hip hop-hued uptempo numbers make a similarly big impression. Comparisons to Ed Sheeran still ring true, then, but that's not to say there's nothing new happening here.
Review: Walt Disco are evolving. Lead vocalist Jocelyn Si, drummer Jack Martin, synth player Finlay McCarthy, bassist Charlie Lock, and guitarist Lewis Carmichael challenged norms with their debut album, Unlearning. Their new record, The Warping, reflects shifting identities, blending memory and future, and exploring younger selves and imagined personas. Written across the Atlantic, from Los Angeles to Glasgow, the album builds enhances their cinematic glam with orchestral musicians, creating a sound both organic and sophisticated. The album addresses personal themes with radical honesty, especially exploring gender dysphoria and envy. Despite a hostile world, especially for queer and trans people, Walt Disco remains resilient.
Review: It could have all been so different when you think about it. One of the UK's most critically acclaimed, celebrated and mourned bands, Joy Division, were originally toying with the idea of calling themselves Stiff Kittens after first getting together. This then changed to Warsaw, after David Bowie's track, 'Warsawa', and it's under this guise they broke into the common conscious, supporting The Buzzcocks, Penetration and John Cooper Clarke at Electric Circus in 1977. Reviews from that show - by music journalist leg-ends Paul Morley and Ian Wood - would ignite the hype. A debut album was planned for RCA Records, 11 tracks that would go on to be known simply as The RCA Sessions. Here they are now, as originally intended, some of which eventually made it onto Joy Division records, others didn't, but all clearly showing musicians defining their sound and place in the scene.
Review: Plucking themselves and their strings out of Chapel Hill, North Carolina, Watchhouse has its foundations in Mandolin Orange, and the duo - songwriter Andrew Marlin (vocals, mandolin, guitar, banjo) and Emily Frantz (vocals, violin, guitar) - haven't necessarily changed since the name switch. A married couple, there's always been this beautiful intimacy in their music, which is often tender, if not strictly quiet. Eight studio albums in and most of the reasons we fell for this Americana-folk-country outfit remain front and centre. The musicianship, at times, is nothing short of spectacular. Check the chord work on 'In The Sun'. The lyrics are capable of stopping you dead, forcing contemplation and reflection. And the overall atmosphere is like the feeling you have after stepping off a train back home. Slow down, re-familiarise, and pay some attention to the subtle things.
Review: 'Sonic honesty' - characterised by a nakedness of voice and dryness in production - is central to folk rock music. It's a sound that was more or less nailed by The Wave Pictures upon their formation in 2005, and now inevitably in 2022, come their latest LP. 'When The Purple Emperor Spreads His Wings' is a long and sprawling album of folk-garage drama, testament to the Leicester outfit's propensity for frank lyrics, space-country themes (case in point: 'This Heart Of Mine'), and roadrunner-style carefreeness.
Review: Recorded in a kind of homely hibernation - namely the shed in the yard of Nathan Williams' family home in San Diego - despite the title, Hideaway isn't backwards at coming forwards. It's an upfront and muscular, riff-y but not too heavy rock 'n' roll record that benefits from some real creative titans at the helm, specifically the aforementioned Wavves lynchpin and Dave Sitek of TV On The Radio fame. Suffice to say, then, it's one of the most polished sounding shed rock albums you will hear all year.
While for the most part it's an uptempo, top down convertible, wayward road trip, chaotic montage type sound, the instrumentation betrays some pretty (and typically, for Williams) thoughtful songwriting. It's an ode to the restless feeling we all experience at times, the possibilities of the other and the need to embrace the potential in the world. Messages that resonate with us all in 2021.
Review: Waxahatchee is emerging, butterfly like, from a cocoon that has kept her safe for most of her career. There was nothing ugly or hidden about Katie Crutchfield's older output. But it was intimate, quiet, thoughtful, vulnerable and, at times, almost a little nervous. At least some of those adjectives became irrelevant with the last LP, Saint Cloud, and now she follows up that ten-foot-tall 2020 triumph with Tigers Blood, continuing in a similar vein. Having significantly increased the size of her audience with the preceding, infinitely rousing record, Crutchfield simultaneously looks to please those newcomers and win even more over here. The tracks are similarly open armed, proud and accessible, but the razor sharp songwriting - dealing with everything from trying to stay still without being bored, to self doubt - has lost none of its impact, and the instrumental arrangements have arguably never been stronger.
Review: Jamie Webster's 10 For The People perfectly encapsulates the Liverpool singer-songwriter's heartfelt narratives and soulful melodies. Released in 2021, the album is a poignant exploration of working-class tales and social commentary, blending folk and rock influences. Known for his association with football culture, Webster's tracks like 'This Place' and 'Living for Yesterday' resonate with authenticity meaning that 10 For The People not only showcases the artist's lyrical prowess but also solidifies his place as a voice for the people. His album is a sincere and evocative musical offering that speaks to the experiences and struggles of us all.
Review: The Wedding Present's 'Hit Parade' was first released in 1992, after the band had released a limited edition single every month up until they had enough material. Dealing in their now-trademark brand of power-punk and jangle, this new 30th Anniversary box set version of the band's biggest hits are compiled into a select 20-track compendium.
Review: British alternative indie band The Wedding Present's third studio was recorded in just 10 days in America. Steve Albini was the producer which means the music has a more raw and rough edge that the first two albums. It is often placed highly in all time top albums lists by noteworthy outlets like The Guardian and this double 12" package takes in the full original album as well as three EPs - 3 Songs, Dalliance, and Lovenest, and a John Peel BBC Radio 1 Session from 1991 that saw the band play versions of four different tracks from the album.
Review: Timing is everything. Weezer's latest addition to the oeuvre is testa-ment to just how far it's possible to go wrong. Spoiler alert: this has nothing to do with the quality of the music. Instead, this ode to the heavy metal giants of days past simply managed to get caught up in the COVID-19 chaos of 2020. First pegged for release ahead of a stadium tour alongside Green Day and Fall Out Boy, dates and record were post-poned for 12 months. Now we have the record, but none of the shows as they're moved again, this time to 2022.
By which time the guys this is a direct tribute to - title and font reference the late, great Eddie Van Halen - will have been gone for some time. Thankfully, then, the album has enough strength not just to stand alone without the huge gigs to showcase it, but also long enough to survive until those gigs can happen.
Review: It's taken three years for Westerman to follow up that acclaimed debut album, Your Hero Is Not Dead, and to say the Athens-based pop outsider has been through a lot since would be nothing short of an understatement. After all, much of this record took form during the pandemic, a time that was difficult enough for bands, let alone soloists who had just offered the world their first intimate self-portrait.
That period was defined by intense isolation, heartbreak, fear, and anxiety, and some of those emotions have made it onto LP two. The title itself is a reference to humanity's innate flaws and weaknesses, while - perhaps ironically - the production sounds almost like a celebration of what it means to be alive. Live sounding, every breath, movement of hand down an acoustic guitar, and imperfection is captured in this expansive but intimate journeyman indie rock.
Review: Following the success of last year's My Beautiful England, his first solo album for two decades, David Westlake has decided to offer up an expanded reissue of his 1987 debut, Westlake (now retitled D87 in reference to the NME's legendary indie tape, C86, on which he featured). Westlake recorded the album following the collapse of the band he'd led, The Servants, with the help of fellow post-punk era songwriter Like Haines of The Auteurs. The original album, which bristles with jangling and layered, Johnny Marr style guitars, expressive vocals, good grooves and occasional strings, still sounds great, and this time round comes backed with recordings of a 1987 'session' for Janice Long's BBC radio show.
Review: Hailing from the Isle of Wight and steadily building in momentum via a run of stunning singles, Wet Leg are making their much anticipated breakthrough with their debut album on Domino. The duo hit a note between the brooding post punk and new wave romanticism and a spikier pop streak which should find them winning hearts and minds all over festival season. 'Chaise Longue', 'Wet Dream' and 'Too Late Now' have been doing the rounds since the girls signed to Domino in 2021, and it only takes one listen to know they're going to be huge. Razor sharp hooks, singalong choruses and a droll sense of humour are all conspiring to make Wet Leg your new favourite band.
Review: Natalie Mering's Weyes Blood project is 12 years deep now, and she follows up on 2019's Titanic Rising with this, her fourth studio album. Her sound evolves in kind over this time from the DIY roots of her appearances on Not Not Fun et al, and now she strikes the figure of an eternal songstress joining the dots from classic 70s composition and production through to the aching, head-fogged reflection of the modern condition. Lead single 'It's Not Just Me, It's Everybody' nails the mood of malaise, but the beauty of her songwriting leads and saves us from slipping into despair. Why not commit to the concept and cop this, the limited Loser Edition of And In The Darkness, Hearts Aglow.
Review: Though prolific since emerging at the dawn of the millennium, White Denim have refused to settle into a specific sound, with main man James Patrelli flitting through styles, influences and inspirations (and band members) at a rate of knots. On the simply titled 12 - yep, the band's 12th album to date - Partelli and company subtly switch focus once more, this time with the help of his latest co-writer (and the band's synth player) Michael Hunter and a broad range of guest musicians. The results are bright, attractive and thoroughly enjoyable, with notes of tropical guitars and the work of highlife legend Ebo Taylor rubbing shoulders with nods to bossa-nova, Southern soul, jangling indie-rock and The Beatles circa The White Album.
Review: RECOMMENDED
It almost (almost) pains us to recommend this one - The White Stripes aren't really a band that should be releasing Greatest Hits albums. We'd much rather them give us a surprise record of typically groundbreaking, brand new theatric and infectious blues-tinged rock 'n' roll. But we are where we are, and after more than a decade without much activity from the siblings beggars can't be choosers.
One of our objections is exactly how you choose what to include on an LP like this. What defines a 'hit' from an outfit that are renowned for packing albums with nothing but stone cold gems, even if they failed to make it onto radio playlists or single format. In this case, though, the challenge has been met - with chart topping fare like Seven Nation Army notably absent, while more wildcard tracks such as 'I Think I Smell A Rat' and 'Dead Leaves On the Dirty Ground' given their deserving dues.
Review: RECOMMENDED
Let's face it, White Blood Cells is the moment when The White Stripes really broke the mould. It's a continuation of Jack and Meg's garage rock aesthetic as fine-tuned over two previous albums, and wholeheartedly a straight up rock 'n' roll album. But the elements are so perfectly primed it's impossible not to rank this as one of the greatest long form outings of this century, so far. And we're not alone - Rolling Stone even reckons it's among the best LPs of all time. Pity the fool who disagrees.
From the racing 'Fell in Love With A Girl', to the beguiling mystery of 'The Union Forever', 'I Think I Smell A Rat''s meld of mariachi riffs and mosh stomp and the emotional piano closer 'This Protector', to the innocent acoustic joy of 'We're Going To Be Friends', this is a masterclass of songwriting and arrangement, tracks that evolve, perplex, surprise, and - most importantly - entertain.
Review: Let's face it, Jack White has never really stood still, with the stream of solo projects put out since The White Stripes days proof of just how relentless his creative spark is. However, as many have pointed out in reviews of Fear of the Dawn, there's not been that much of a stylistic shift since his joint venture with Meg. As such prepare to be blown away with this latest effort. Although we're not going to say whether that's in a good or bad way.
To call the tracks here obscure is nothing short of horribly reductive. A strange, at time obnoxious and jarring fusion of blues, theatrical rock, prog, and plain weird, it's nothing if not consistently unexpected, and wholly unique. Often huge in sound, but then occasionally minimalistic, it's the noise made by a man who has always threatened to throw the kitchen sink at fans, and has finally found the muscle to do it.
Review: Limited to just 2000 copies, Jack White's newest solo album 'Fear Of The Dawn' comes in a distinctive blue and white sleeve, making this move away from the White Stripes' native red and white colouration clear. Prefaced by the buzzing lead single 'Taking Me Back', we're stoked for the promised energy of this LP, which is the first of two albums slated to hit the shelves in 2022. This LP comes in either single black, 'astro' blue, or 'glow' white versions, as well as CD for the digi-heads.
Review: Jack White is most famously the founding member of The White Stripes, The Raconteurs and The Dead Weather but is also an accomplished solo artist. His fifth studio album, Entering Heaven Alive, is another one that sticks to his signature approach to making music, and that is in DIY fashion in his own Third Man Studio throughout 2021. It comes almost alongside his other new album Fear of The Dawn and neither of them had much backstory. This one is said to simply draw from "different inspirations, different themes, different moods."
Review: If you remember Whitney - and let's face it, who doesn't considering their last full length was only 2019 and made a huge impression at the time - then prepare to admit you don't really know Whitney. Moving away, with some determination, from their indie folk roots, Spark is a glossy, smooth, sexy, and altogether high-production love affair with a very different side of sounds from the 1970s and 80s.
This is lush, glossy pop with funk and R&B undertones, at times breaking into No.1-worthy balladry, chords and keys cascading to the sounds of hearts breaking across the world. So rare is it in 2022 for a record to tread this unabashedly unifying path, rather than approach the charts with the songwriting talent of tomorrow's EDM chip paper, that's it's almost jarring. Full marks for making us remember what 'popular music' really means.
Review: Wilco's Iconic Yankee Hotel Foxtrot gets a special 20th anniversary reissue here and has given it a full remastering treatment just for the occasion. Back in 20022, this was seen as one of the year's best incidents albums with high praise from NME, Rolling Stone, Uncut and many more. It was the band's first album on Nonesuch Records after they split from Reprise and was also the first featuring the line-up of drummer Glenn Kotche and multi-instrumentalist Leroy Bach joining founding members Jeff Tweedy and John Stirratt. Though the recording process was brought, the resulting album has stood the test of time.
Review: Originally released in 2004, A Ghost Is Born - Wilco's fifth studio album - doubled down on a stylistic rethink for the band that began a little earlier, with 2002's Yankee Hotel Foxtrot. This is also the moment lead singer Jeff Tweedy assumed even more creative control as guitarist Jay Bennett said goodbye, and the first time the outfit claimed a top 10 album in their American homeland. 12 months later, they walked away with the Grammy for Best Alternative Music Album, and now here we are, 20 years on, wondering how the hell things got to this point but still under no doubt just how good this collection of songs is. A new anniversary double LP edition (with more expansive 9xLP+4CD and 9CD formats also available), complete with hardcover book, it's a must for dedicated disciples and a genuinely beautiful package for pretty much anyone who appreciates the art of the reissue.
Review: Having announced the decision to disband towards the end of last year, Wild Beasts are going out with a bang on this collection of session recordings that accompany a final burst of live shows. Recorded at RAK Studios The set covers material from all five of the band's acclaimed albums, that perhaps owing to their imminent closure, are played with a heightened freedom, immediacy and tightness. The renditions of '2BU', 'He The Colossus', and closer 'Celestial Creatures' stand out as some of the best versions the band have recorded, and singer Hayden Thorpe's soaring and diving vocals stand out and glow on this final foray. 'Last Night All My Dreams Came True' is a polished set, and a fitting swansong for one of the most well-loved bands on the British indie scene.
Review: Jonathan Wilson's new album Eat the Worm is, he says, a series of songs that have been made in reaction to the production work that he does. It finds him breaking free of any conservatism and taking chances on songs that have come together over the last two years in his own Fivestar Studios in Topanga Canyon, California. Plenty of experimentation can be heard throughout as he channels influences like Jack Nitzsche and Todd Rundgren into 12 beautiful folk and Americana fusions that find him reaching new heights and paying homage to the 60s folk revival of Greenwich Village.
Review: To celebrate the return of the Glastonbury Festival in 2022 and mark the 15th anniversary of an iconic moment, Island Records served up Amy Winehouse's 2007 Pyramid Stage performance for the first time. This unforgettable set saw the troubled genius headline on June 22nd and it was her debut on the Pyramid Stage. She entranced audiences as ever with her soulful voice and electrifying presence and later that day, she also graced the Jazz World Stage and once again wowed those in attendance with another heartfelt and raw performance. The album now gets reissued and commemorates a milestone in Amy's career as well as a chance to relive the magic of her timeless sound.
Review: Wire's 'Nine Sevens' is a double LP that serves as a reissue of their 2018 box set of 7" singles, which brought together early iconic tracks with more obscure later works. The compilation tracks the band's evolution from their monochrome early phase to the more complex, almost psychedelic sound that emerged by the end of the 1970s. The first disc resembles a traditional greatest hits collection, while the second veers into experimental territory and between them, all these 7" singles represent Wire's pop art explorations as well as being snapshots of the band frozen in time. This fine take on pop culture is a thrilling, artful journey through Wire's pioneering work.
Review: Manchester based, all girl, self-proclaimed doom-grunge outfit, Witch Fever, are set to finally drop their debut full-length, 'Congregation', this October (right in time for Halloween). Built around thundering riffs, sultry, twisted atmospherics and an incomparable wall of sound style trudge, evoking the ethereal post-punk of Warpaint by way of Soundgarden, the project is already hotly tipped to be one of the breakout releases of 2022. Frontwoman Amy Walpole's cavernous, shrill vocals are as haunting as they are lush, while the cryptic, horror-inspired lyrics and utterly massive production promise one of the most vital, dynamic, and unaccommodating debuts from the grunge, punk, or alternative rock spectrums, this decade has proverbed thus far.
Safe From Heartbreak (If You Never Fall In Love) (2:36)
How Can I Make It OK? (4:45)
Play The Greatest Hits (2:25)
Feeling Myself (4:41)
The Last Man On Earth (4:20)
No Hard Feelings (2:35)
The Beach II (3:38)
Review: RECOMMENDED
There's absolutely no doubt in our mind Blue Weekend is a record Wolf Alice feel a sense of enormous personal satisfaction from. Of course time will tell if it can bag them another Top 5 position, or even a Mercury Prize nomination, but for all intents and purposes there's a real feeling of catharsis here. And it goes well beyond famously reserved singer Ellie Rowsell telling listeners she doesn't give a fuck if they like her.
The band's latest punches, bangs and has absolutely no time for dishonestly. In many ways, this is where they are fully realising influences that have always been present - grunge, punk, some of that 1990s British indie-garage-with-bite crossover stuff. But it's also a record that sees them realising just where they've got to, and now reaching for a louder and more prominent position on the main stage.
Review: According to the band themselves, the Wombats' new full-length - the long-serving trio's sixth studio set in total - is their most "sophisticated and sonically adventurous yet", exploring lyrical themes of "socially awkwardness, internal strife and everyday LA life". It's certainly a musical departure, with the Liverpool-born band and producer John Congleton (best known for his work with St Vincent and Death Cab For Cutie) largely eschewing the synths and indie-dance influences of old in favour of a sound rooted in British "beat music" of the late 1960s, jangly 1980s indie-rock, and the Britpop era. It's a notable change in direction, but it works really well - as the bold, beautiful and undeniably catchy songs 'Can't Say No', 'Sorry I'm Late, I Didn't Want To Come' (a future anthem for socially anxious misfits everywhere in the same mould as Pulp's 'Mis-shapes') and the surprisingly funky 'Blood On The Hospital Floor'.
Review: Matthew Murphy, Tord Overland Knudsen, and Dan Haggis deliver their sixth studio album. The latest in a surprisingly prolific list of records - starting with 2007's much hyped debut, A Guide To Love, Loss & Desperation. Over the years since, the Liverpool trio have consistently delivered the goods to sustain a loyal following, while also swerving the pitfalls of 'blowing up' only to do whatever the opposite of that is once the hysteria subsides. Blow down? Whatever the term, the truth of it is that Oh! The Ocean is The Wombats through and through - an makes no secret of that fact. But it's no simple rerun. Instead, the three-piece have emphasised their sense of humour, social commentary and escapism while simultaneously calling on the kind of riffs that evoke nostalgia for the heyday of British indie rock & roll, while embracing the anything goes doctrine that seems to be humanity's modus in 2025.
Review: Wunderhorse's Cub has evolved into a cult classic since its 2022 release and propelled the band from pub gigs to Glastonbury and sold-out Brixton Academy shows in quick time. Blending grunge bite with expansive psychedelia, the album became a generational touchstone, and frontman Jacob Slater's journey from burning out in Dead Pretties to rediscovering music while working as a surf instructor means he infuses Cub with hard-earned introspection and raw power. As the solo project transformed into a full band, Wunderhorse gained momentum, and their acclaimed 2024 follow-up Midas broke into the UK Top 10 and earned global praise while confirming their place as one of rock's most vital new voices.
Review: 25 years have now passed since Liverpool legend Pete Wylie and his long-term backing band released Songs of Strength & Heartbreak, which marked the post-punk era combo's return to action after 16 long years. Something of a triumphant return, the set flits between raucous punk energy ('Never Loved as a Child'), Oasis-ish riffs on mid-late period Beatles ('Sing All The Saddest Songs', 'Disneyland Forever'), riff-heavy post-Britpop indie-rock ('I Still Love You', post-punk headiness ('Loverboy') and all manner of orchestrated, reach-for-the-ceiling sing-alongs ('Hey! Mona Lisa'). To mark the album's birthday, Chrysalis has served up this expanded 'deluxe' edition. Unusually, this time round CD1 boasts the album as it was originally demo'd and produced in 1998 - including a slew of songs that were subsequently shelved - with the 'released' version (2000) nestled on CD2.
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