Consisting of two lengthy compositions, Benjamin John Power’s latest Blanck Mass album ‘In Ferneaux’ is as frustrating as it is inventive.
Compared to the leap forwards of Slaves’ most recent album, ‘The Velvet Ditch’ sounds like an afterthought, with the exception of one stunning moment.
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.
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.
