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Idlewild

Idlewild

Idlewild

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IDLEWILD – SELF-TITLED – ALBUM REVIEW

It’s always a good thing when you get to say that there is new music from underground Scottish icons Idlewild!

From the angst punk of their early albums to the mainstream indie rock that brought them before a bigger audience, to there more recent escapes into an artier sound, it’s fair to say that Idlewild have been on an evolutionary journey of self-discovery.

Now three decades into their career and arriving at the hefty milestone of their tenth album, the band have decided to look back on their past to harness their present. The band have fittingly self-titled this new release as it represents the sound of Idlewild.

WATCH THE VIDEO FOR ‘It’s Not The First Time’
Idlewild – ‘It’s Not The First Time’

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Throughout their developing career, the various periods may have had different feels, but each was distinctively Idlewild. Now, each of those era’s seeps into these beautifully crafted thirty-five minutes and it will be easy for fans to get fully absorbed in this love letter to their legacy.

The ten tracks on this album are packed with soaring melodies, angular guitar work, captivating sonic gravity and their signature emotive poetry. So, whilst this might not their most ambitious sound, it’s a stunning culmination of thirty years of experiences and is some of their finest work.

The artistry on show from the band is once again sublime which for those invested in the band is no surprise. If you’re new to the world of Idlewild however then this may be the most opportune time to jump all the way in!

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Ash

Ash

Ad Astra

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ASH – AD ASTRA – ALBUM REVIEW

After what feels like a relatively short turnaround since 2023’s ‘Race the Night’, Northern Irish rockers Ash are back with another splash of power pop on their cosmic new album, ‘Ad Astra’.

Tim Wheeler, Mark Hamilton and Rick McMurray have been pumping out superbly fun indie rock anthems for over thirty years now and currently seem to be enjoying something of a career renaissance.

More pertinently though, they also seem to be having more fun than ever and this new collection oozes with their joy of creation in every chord and lyric. The trio have managed to harness the hopeful magic that started their journey and now as per the album title they are heading to the stars.

WATCH THE VIDEO FOR ‘FUN PEOPLE’
Ash – ‘Fun People’

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There are naturally trusty Ash classics within these twelve tracks, but there are some more playful tunes such as the Graham Coxon featuring ‘Fun People’ and their charming cover of ‘Jump in the Line’.

From the Ric Flair strut inducing opener ‘Zarathustra’ to the delightful title-track which closes the album, each track brings its own character and ensures that the forty-three minutes of the album just fly past.

Ash might not get the same obsessive love as some of their contemporaries, but their back catalogue speaks for itself and ‘Ad Astra’ is another fine addition. So put some respect on their name because Ash are once again genuinely fantastic.

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SPRINTS

SPRINTS

All That Is Over

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SpRINTS – ALL THAT IS OVER – ALBUM REVIEW

Whilst SPRINTS have been building solid foundations for a number of years now, their festival appearances this summer really seemed to ramp up the anticipation for their second studio album, ‘All That Is Over’, which arrives now with an intense explosion of post-punk grit.

Ominous opening duo ‘Abandon’ and ‘To The Bone’ build up that excitement perfectly to kickstart the record and the following nine tracks do everything necessary to deliver on the promise of the album.

Many of the songs have already met the world either as a pre-release single or in the live setting but hearing the collection all together is something special. There is a beautiful flow to the album and you can feel the passion poured into every note and every lyric.

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SPRINTS – ‘Need’

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SPRINTS have never been afraid to tackle the dark cloud of doom and injustice engulfing the world and they are again able to harness their intensity into stirring calls for action. There is also a degree of self-reflection from the band as they get used to their newfound platform.

Thematically and sonically, this is an album where the four-piece use their voice to cut through the noise of the world whilst making a hell of a racket themselves. Tracks like ‘Something’s Gonna Happen’ and ‘Pieces’ are top tier and the album as a whole is maybe the current torch bearer for album of the year!

Bringing the album to an epic conclusion is ‘Desire’, which again gradually builds to a thunderous crescendo. This acts as the perfect climax for what is a simply astonishing record from a band leading the charge for the latest wave of post-punk agitators.

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White Reaper

White Reaper

Only Slightly Empty

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WHITE REAPER – ONLY SLIGHTLY EMPTY – ALBUM REVIEW

Much has changed for White Reaper since the 2023 release of their fourth studio album, ‘Asking for a Ride’. Substantial upheaval has seen a change in record label and the departure of their rhythm section.

With the band feeling the pandemic cut short their hard-earned momentum, burnout and some old-fashioned writers block added to the weight felt by the group. Forging ahead now as a three-piece the remaining members however have hit the fabled reset button.

Their aptly-titled fifth album, ‘Only Slightly Empty’, finds the band concurrently re-examining their previous outputs for a back-to-basics approach whilst also exploring their new direction of travel.

WATCH THE VIDEO FOR ‘BLUE 42’
White Reaper – ‘Blue 42’

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The results of their rejuvenation are spread openly across the slick ten track, thirty-minute collection. Emotive lyrical delivery, catchy songwriting and a grunge-tinged power pop sound dominate the landscape and remind you of the band’s key qualities.

‘Blink’, ‘Honestly’ and ‘Blue 42’ as the pre-release singles do standout, but in truth there’s not a bad track here with the album helped by its simplicity and breezy length. Heartfelt craftsmanship helps to suck you into this collection, and the quality of the music keeps you invested.

Given the tumultuous build towards this latest album, the results are a testament to the talents of the trio. There may be some cliched concepts held within this review but there is a reason that sometimes bands need to have a refresh. Companies do it all the time with a rebrand, we give our homes a fresh lick of paint and White Reaper have had a needed reset on ‘Only Slightly Empty’.

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Biffy Clyro

Biffy Clyro

Futique

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BIFFY CLYRO – FUTIQUE – ALBUM REVIEW

Not many bands make it to a milestone as large as a tenth studio album, and even fewer do so having delivered such an eclectic and admired collection of releases as Biffy Clyro have. ‘Futique’ (a portmanteau of Future Antique) finds the trio at a true moment of reflection as they unveil their new landmark record.

The album marks their return from the longest period of inactivity in their history whilst the band took stock and frontman Simon Neil scratched a heavy itch with Empire State Bastard.

This time away from a band that has been a relentless recording and touring machine for over two decades allowed much time for reflection – perhaps too much – as the band would begin to question their future.

This uncertainty seeps into the eleven tracks that make up ‘Futique’ and do make these songs all feel incredibly vulnerable. These are reflective tracks but also harness the glow that begins to light up the darkness.

WATCH THE VIDEO FOR ‘A LITTLE LOVE’
Biffy Clyro – ‘A Little Love’

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As their previous records have shown time and time again, Biffy Clyro are one of the most unique and undeniably special talents the UK has produced. The light of this record is them once again being distinctively Biffy – that is allowing themselves the space to write from the heart and sonically create something fresh and rewarding.

The quirkiness of Biffy is here, the epic choruses are here, the passion and honesty is still front and centre and the band are again in truly captivating form. There may be a lack of the heavier flashes when they really unleash but that energy still manifests at the most opportune moments.

Given the acknowledgement from the band that calling it quits was on the table, we should all be eternally grateful that this extraordinary trio are able to deliver such an astonishing tenth album. Let’s hope that we are just as excited for album twenty!

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Die Spitz

Die Spitz

Something To Consume

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DIE SPITZ – SOMETHING TO CONSUME – ALBUM REVIEW

American alt-rockers Die Spitz have been a regular on our ‘Discover’ New Music Playlist in recent months as they released an increasingly impressive string of raucous punk ragers.

Now the Austin, Texas four-piece are ready to unleash their debut album, ‘Something to Consume’ but the question is really – is the world ready for it? We ask because, spoiler alert, good grief is it good!

The quartet uniquely switch-up their songwriting, vocals and instruments and therefore it’s not much of a surprise that the eleven tracks on this record are reasonably eclectic. There is however an intense and chaotic overarching aesthetic that just reaches out and grabs you by the collar.

WATCH THE VIDEO FOR ‘POP PUNK ANTHEM (SORRY FOR THE DELAY’
Die Spitz – ‘Pop Punk Anthem (Sorry For The Delay)’

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Opening track, ‘Pop Punk Anthem (Sorry for the Delay)’ explains that “…my visions clear…” before the guttural cry of “…you’re part of me…” and the rawness of the music really does make you feel that you are part of their vision.

Yes, there are political undertones but the songs here act more in defiance of the ever-surreal realities of life. This is music to escape in, to believe in and its visceral nature is truly captivating.

At a time when it has never been easier to release music, it has never been harder to actually be heard but on ‘Something to Consume’ Die Spitz are screaming so loud that it’s impossible not to hear them. This is a genuinely exciting album that signals the groups arrival as ones to watch.

This is a very bold statement from Die Spitz and everybody needs to sit up and listen.

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Twenty One Pilots

Twenty One Pilots

Breach

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TWENTY ONE PILOTS – BREACH – ALBUM REVIEW

Ten years ago Twenty One Pilots released their fourth studio album, ‘Blurryface’. The band who had achieved moderate success to that point, suddenly solidified themselves at the top of the industry with an album that captured imaginations, won hearts and beckoned a new era of creativity for the duo.

Since then singer Tyler Joseph and drummer Josh Dun have lived and breathed the overarching story told across their following albums, ‘Trench’, ‘Scaled and Icy’ and ‘Clancy’. Now though after ten years, a fifth album, ‘Breach’ allegedly brings an end to these conceptually intertwined releases.

Sure to elicit mixed emotions from fans, this series has become entrenched within the bands identity so it will be sad for some to move on. Equally there will be those excited to hear what the band create next.

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Twenty One Pilots – ‘The Contract’

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In the meantime, though there is this new album, ‘Breach’, to get our heads around. After another teasing series of easter eggs sent fans into a frenzy, the band dropped lead single, ‘The Contract’ at the start of summer and recently followed it up with ‘Drum Show’ (which happens to be the first to feature lead vocals from Dun).

Both of these singles are standout moments on the album, but in pretty typical Twenty One Pilots fashion are just the tip of the iceberg. The forty-seven minute, thirteen track collection is sonically explorative and lyrically ambitious with plenty of callbacks and nods to the series as a whole.

Indeed, if this is actually to be the end of this concept, the album in its entirety and the finale of ‘Intentions’ feel very well crafted. Given the success that this series has provided the band, you’d think it would be hard to do the period justice but somehow on ‘Breach’ the duo have managed to do just that!

The question soon though will turn to the obvious – what comes next?

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Suede

Suede

Antidepressants

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SUEDE – ANTIDEPRESSANTS – ALBUM REVIEW

Britpop summer may be quickly disappearing into the rear-view mirror as the first chills of autumn slowly bite but there is still plenty for 90’s indie aficionados to get excited about!

Continuing their regular post-reunion releases, Suede are here to provide a comforting warmth just like your favourite jumper. The band continue to be daring in their song writing however and ‘Antidepressants’ is a darker record focusing on the tense state of modern life.

Despite the much-publicised nostalgic feel of the summer, and unlike their contemporaries Suede are very much living in the now and not off past glories. Opening track ‘Disintegrate’ is superbly brooding before the band instinctively broaden the scope of the themes across the entire forty-minute collection.

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Suede – ‘Disintegrate’

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The incomparable Brett Anderson guides listeners through the record with a more spoken style of vocals akin to modern day contemporaries of the post-punk movement. Apt then that Anderson has called ‘Antidepressants’ the bands post-punk record when comparing it to predecessor ‘Autofiction’ which he terms the groups punk album.

The album is the perfect encore for ‘Autofiction’ and really is quite remarkable considering the band originally wanted to pursue a mellower direction. Like the song of the same name on this album however this is ‘Broken Music for Broken People’.

The ominous ‘Life Is Endless, Life Is A Moment’ is a fittingly chilling finale to a collection which sonically and lyrically feels far more relevant than a Suede album should do in 2025. The band continue to show themselves to be timeless with this incredible latest masterpiece!

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Connor Selby

Connor Selby

The Truth Comes Out Eventually

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CONNOR SELBY – THE TRUTH COMES OUT EVENTUALLy – ALBUM REVIEW

Young troubadour Connor Selby has certainly been impressing fans of blues infused guitar music and with his third album, ‘The Truth Comes Out Eventually’, Selby is again drawing attention.

Having already supported The Who at Wembley Stadium and Pearl Jam in Hyde Park, Selby isn’t unused to being under a microscope. On this album however he is opening himself up in a different way with his most personal lyrical work to date.

Questioning and exploring his place in the world, Selby really bears his soul across these ten delicately crafted tracks. This in parallel makes this his most engaging collection so far also.

WATCH THE VIDEO FOR ‘AMELIA’
Connor Selby – ‘Amelia’

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Sonically this could also be described as his most eclectic and expansive set of songs as well. This all makes this a truly remarkable record that focuses the undoubted talents of Selby and channels them into his best record so far in his career.

Whilst the slick guitar work and tender, soulful melodies that you’d expect are central to the album’s coherence, there is a real mixture of blues, folk and big orchestral band exuberance on here.

All in all, this is an absorbing listen well worth a little exploration for fans new and old. The talent on show is immense and there are worse ways to spend forty-five of your minutes!

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Bryan Adams

Bryan Adams

Roll With The Punches

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BRYAN ADAMS – ROLL WITH THE PUNCHES – ALBUM REVIEW

Bryan Adams is such an incredibly enduring artist that it becomes easy to take him for granted. Prolific both on stage and in the studio, Adams is a household name but probably never truly gets the credit he deserves.

Looking at the credits for his new album, ‘Roll With The Punches’ you may momentarily think of the Little Britain bit – “write the theme tune, sing the theme tune”. Adams is of course front and centre of his own record, but for the first time he is also releasing the album on his own label.

It doesn’t stop there however as the album credits him with lead vocals, bass, guitar, production, drums, piano, background vocals, keyboards, percussion, organ and harmonica across the ten tracks.

WATCH THE VIDEO FOR ‘ROLL WITH THE PUNCHES’
Bryan Adams – ‘Roll With The Punches’

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Now, looking at this you might fear that musicians when not allowing external assurance and critical thinking can disappear up their own… well you know how that sentence ends! The good news is however that on this album Adams has masterfully navigated those rocky waters and created a career defining statement.

Adams is on a roll (pun only slightly intended) as his 2022 album, ‘So Happy It Hurts’ was also very good. It’s great to see, or rather hear, an artist with the legacy of Bryan bloody Adams still able to deliver engaging and rocking albums such as these.

Perhaps, just perhaps he will begin to be heralded up there with the very best this industry has seen. The plethora of mega hits he possesses are still getting complemented by superb new material and that’s worth celebrating!

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