Four years after their last album, Mount Kimbie's third full-length shows the duo stripped back and more ambitious.
Life is fine, claims Paul Kelly on his new album. For two hours in the Shepherd's Bush Empire, irrespective of whatever ills were going on in the outside world, it has been.
Sigrid's first major headline show in the capital was always going to be a litmus test.
Is 'Outrage! Is Now' the beginning of the next chapter for Death From Above?
As bold and as confident a record The Echo of Pleasure is, it does begin to blur in to one on repeat listens.
Bicep have created a sublime record that’s as at home on the dancefloor as it is in your bedroom.
The LA-based DIY punk duo have brought their acclaimed sophomore album Powerplant to the Village Underground, and seem louder than ever.
Cameron's morphed into character again, but the world this time around is a much murkier one.
Every Country’s Sun blatantly looks to the band’s past for inspiration, while constantly looking ahead to the future.
Equal parts thoughtful to reckless, Sløtface triumph with a blowout of fiercely fun pop tunes.
When the reverb-drenched chords of ‘Untitled’ ring out across Alexandra Palace, you’re immediately engulfed by the same shivers you were upon first pressing play on the CD back in the summer of 2002.
From the nimble drumming to the rich layers of strings, no semiquaver goes unexamined.
"If you listen you will hear that sound right there in my mind", he sings on highlight "No Tree Branch", and that's what this record sounds like - a trip in to a fascinating, hilarious and disturbing psyche.
This is CYMBALS relaxing into their identity, breaking down barriers and seeking new beginnings.
The extra presence supplied by live musicians, combined with an energy that only 2am-in-Corsica-Studios can supply, results in a very special show.
Introspective, unguarded and tonally sombre, Music For People In Trouble finds the classically-trained, musical polymath reverting to singer-songwriter mode...
Car Seat treat London to a pulsating offering of their very own refined breed of guitar music.
If the album's flawless predecessor put The War On Drugs on the map, this effort cements his project as the finest exponent of Americana indie rock on the planet.
Green Man was a joy. Shamelessly middle class at times, yes. But going on the music and lack of hangovers, a joy.
Something tightly wound, more experimental and, dare we say it, sonically up-tempo.
Are Josh Homme's gang of rock'n'roll punishers stepping into safer, more chart-friendly territory?