• Aidan Moffat & RM Hubbert – Here Lies the Body

    Aidan Moffat has a knack for a musical partnership. Having first come to attention as one half of Arab Strap alongside Malcolm Middleton from the mid-90s to the mid-00s – as well as a recent triumphant run of reunion shows – his later pairing with jazz musician and fellow Falkirk native Bill Wells saw the pair bag the inaugural Scottish Album of the Year Award for their 2011 debut Everything’s Getting Older. Now it’s the turn of guitar virtuoso RM Hubbert, perhaps best known to Irish audiences for regular stints supporting Mogwai on these shores. The pair already teamed up…

  • Courtney Barnett – Tell Me How You Really Feel

    The Melbourne-based singer-songwriter Courtney Barnett came to international attention in 2014 with the release of A Sea Of Split Peas, a combination of her two previous EPs. Barnett’s lyrics, which detailed the most mundane aspects of her life in a manner that was confessional, witty and biting in equal measure, were the real standouts in that opening gambit, lending a song like ‘Avant Gardener’ (inspired by an ill-fated spot of gardening that resulted in her being rushed into an ambulance) the feeling of a miniature epic. Her debut studio album Sometimes I Sit and Think, Sometimes I Just Sit subsequently arrived…

  • Parquet Courts – Wide Awake!

    Parquet Courts’ latest is a petrochemical explosion of fiery politics and sprawling creativity. Building upon their established art-punk sound, the Texan outfit’s experimentation with technicolour keyboard textures, funk grooves and Latin rhythms makes for their most immediate and stylistically diverse release to date. Aptly titled Wide Awake!,  the album is an unapologetically political outing, showcasing A. Savage’s lyrics which seethe with rage and indignation, his thoughts seemingly drawn into sharper focus by the U.S.A’s ongoing political calamity. Crunchy garage rock opener ‘Total Football’ indulges the bands more mercurial instincts with elastic time signatures and a jerkily danceable bassline, providing the…

  • The Sea and Cake – Any Day

    Chicagoan supergroup, The Sea and Cake sprang from the mid-western city’s post-rock hotbed during the early ’90s, bringing together members of bands such as Shrimp Boat and Tortoise to create a singularly sophisticated sound. Over the course of 11 albums The Sea and Cake have plied an increasingly finessed trade, melding a love of jazz, bossa nova and ’70s Krautrock with their own breezy indie rock instincts, tearing an unlikely wormhole between the parallel universes of Astrud Gilberto, Neu! and Guided by Voices.  The band’s latest effort Any day, which arrives after a lengthy six year break, flashes to life…

  • Delorentos – True Surrender

    Delorentos fifth studio album, True Surrender, boils down to one simple message: Cut the bullshit. Through intricate metaphors of escapism, bold images of desolate extradition from society and elusive references to the current, global political state, the Dublin outfit beg us to take a step back and ask ourselves: Is this the world we want to be living in? From observations of panic to eventual acceptance, the 2012 Choice Music Prize winners take us on a journey through some manner of existential crisis, leading us ultimately to a state of acceptance. The album opens with a recurring, focal image of an…

  • Eleanor Friedberger – Rebound

    In the aftermath of the US elections, Eleanor Friedberger spent some time in Athens with the intention of writing an album. Somewhat side-tracked by the city’s allure, she ended up forming a Greek band,  leaving the demos for what would become her fourth solo record until her return home. The remnants of her transitory escape from the reality of a Trump regime are found in the title of the album, Rebound, named after a Goth club in the Greek capital whose music and character informs these ten tracks. Friedberger’s previous band project with her brother Matthew yielded some wildly imaginative…

  • Beach House – 7

    Fewer bands have so aggressively etched their niche as deeply as Beach House. Whilst aggression certainly isn’t a term usually associated with this century’s finest purveyors of lofty, emotionally-charged dream pop, the Baltimore based two-piece have certainly found their comfort zone and busied themselves deep within it. over the past 14 years. Typified by Victoria Legrand’s omnipresent keyboards and Julee Cruise-esque vocals, Scally’s reverbed guitar and a handful of simplistic drum loops, the band have been stuck in a beautiful, glorious rut creatively almost since their inception back in 2004. Fewer ruts have bought so much glory and critical acclaim,…

  • Arctic Monkeys – Tranquility Base Hotel & Casino

    Of all the shade that can be thrown against the Arctic Monkeys, you couldn’t say they’ve rested on their laurels. At the peak of their popularity, they pivoted from the comfortable rut of their indie roots into the muddier, murky world of Josh Homme-inspired desert rock. With 2013’s AM, they wholehearted embraced sounds from 1990s R&B and throwback blues. The thing with these genre excursions though is that they’ve always retained a thread of being just four Northern boys chancing their arms. With their latest LP, Tranquility Base Hotel & Casino, there’s not a shred of any previous incarnation of…

  • Frank Turner – Be More Kind

    With an uninterrupted streak of 20 years in the game, Frank Turner is undeniably an institution. Over that time, he’s tried on a number of different guises and styles with the most explosive being the proselytising political polemics of his earlier work. While over the last five years, the focus has been more on the introspective and personal, there was always a hope that the man would turn his acid tongue back to the multi-headed hydra of contemporary society.  With his latest effort, Be More Kind, those hopes seemed to have been fulfilled. This is a socially conscious and politicised…

  • Iceage – Beyondless

    “Beyondless is the 4th LP from Iceage. This record radiates joy.” So claims Daniel Stewart, frontman of fellow post punk outfit Total Control, in Matador’s press release for the new Iceage record. As one would imagine from an album that owes it’s name to Samuel Beckett, this isn’t exactly true: frontman Elias Bender Rønnenfelt still snarls his way through tales of heartbreak, war and suicide, with a lurking, gothic menace underlying the band’s attack. They have, however, embraced a fuller and more emphatic sound, bringing in horns and further exploring the Americana elements of 2014’s Plowing Into The Field OF…