Vol. 105
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Four years on from their polarising album ‘Bodies’, AFI are back with what is their twelfth studio record, ‘Silver Bleeds the Black Sun…’.
It doesn’t seem possible that it’s been thirty years since the band made their mark with their debut album, ‘Answer That and Stay Fashionable’. A lot has occurred in the intervening years as the band has evolved and cycled through different styles and genres all with that unmistakable AFI panache.
The height of their mainstream success may have occurred two decades ago, but the band have never rested on their laurels nor shied away from exploring the sounds that influenced them. No surprises here then that the band are again leaning deep into some of those long-standing influences.
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The biggest surprise is instead perhaps the depths at which they plumb the new-wave oceans. The likes of The Cure, Depeche Mode and Echo & The Bunnymen would be proud of this record and that’s a testament to the artistic majesty of the band.
The singular sonic focus of the album does mean that it tends to bleed together however, and standout moments are fleeting. The overall quality however is very good and, in some ways, could be greeted as a fabled return to form.
AFI have always challenged their fanbase with their releases and this one will again be heralded by many and maligned by others. Either way it’s certainly worth a good listen.
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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.
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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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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.
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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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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 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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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.
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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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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.
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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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