For his fans, the late Elliott Smith’s albums are like close friends, comforting and familiar as they reflect back their own anguish.
Currently nearing the end of a co-headline tour of Britain, Leeds’ post-punk quintet Eagulls are sharing a stage with Detroit’s Protomartyr in the intimate surroundings of The Crescent, a welcoming and laid-back community space in the centre of York this week (Monday October 24th). The tour represents something of a transatlantic meeting of minds, a miniature showcase of the best and most imaginative indie acts that Britain and the States
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Leeds trio Brooders and Bradford’s Glass Mountain play at the 360 Club, located in the cosy environs of The Library pub near University of Leeds, on consecutive nights this weekend.
In the third decade of their career, Drive-By Truckers get more politically explicit than ever before with their 11th album.
The 2000s, or ‘the noughties’, as it quickly came to be known, was a decade of profound and paradoxical change for popular music. At the turn of the millennium, the music industry was still at the height of the CD era, with major labels posting record profits; but by December 2009, physical album sales were through the floor, HMV was close to going bust, the humble single format was all
University has started again, a distinct freshness is in the air, and summer is but a distant memory… it must be September. Never fear, however, because the coming months are stuffed with hotly anticipated releases from some seriously big names in guitar music and beyond. Green Day have a new album out, Pixies’ comeback continues with aplomb, and Two Door Cinema Club and Kings Of Leon even unleash records on
New Order had little left to prove with ‘Brotherhood’, but their fourth album shows that their songwriting was getting sharper all the time.
Largely derided upon release, ‘Pinkerton’ has enjoyed a massive critical resurgence in the 20 years since it came out.
‘Preoccupations’ crackles with nervous energy and tension, and serves to buttress the impressive and innovative post-punk of the band’s debut last year.
One of the very few dance records that isn’t tied to its era, ‘Screamadelica’s timelessness was cemented by how it doubled back on rock history, rearranging the past so it pointed to the future, and is arguably the most far-reaching piece of musical exploration in pop’s vast canon.
