More dynamic and diverse than anything they’ve done before, ‘Serfs Up!’ is where the hype around Fat White Family is finally justified.
Grasping a much-ignored truth that poetry and romance have a place in punk rock, Fontaines D.C.’s debut album ‘Dogrel’ is a modern classic.
The hype wagon following Irish post-punk newcomers Fontaines D.C. came to Leeds’ Brudenell Social Club.
Damon Albarn’s reunited supergroup return after nearly 13 years, with a perfectly timed lament for the EU.
On their fourth LP Delta, Mumford & Sons are yet again inoffensive and as approachable as they always were. A cohesive effort, but one that lacks any real substance.
Although his influence is often taken for granted, it is important on the 50th anniversary of ‘Electric Ladyland’ to remember what Jimi Hendrix could do with a guitar.
A compelling voice in an otherwise bland wilderness, Sleaford Mods deliver another no-nonsense EP.
Channeling emotion and beauty as well as anger and intelligence, Idles’ second album ‘Joy As An Act Of Resistance’ is one of the finest punk albums in recent memory.
On their third album ‘Acts Of Fear And Love’, Slaves update their template and produce their most emotionally honest and thorough work to date.
While the intensity, shock tactics and style fusion is still intact, Death Grips’ sixth album ‘Year Of The Snitch’ veers close to the conventional in some places.