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I must say I do love it when I get an album sent to me, and it makes me think that British music is certainly on the up, getting rid of all this pre-fabricated nonsense that is currently in the charts. Greg Holden, Scotland born but now resident in New York, is just that. 

Review by Rochelle Massey

Tennis are the songwriting team of Denver based Patrick Riley (guitar) and Aliana Moore (vocals and keyboards), augmented here by drummer James Barone. The songs on this their second album were inspired by extensive touring following the success of their debut, 2011’s Cape Dory. With this background you may have expected to hear songs about on the road excess and alienation...

Review by Steve Walsh

With the cascade of ‘indie’ bands waddling through our radios at the moment, many of which sound and look the same, its very uplifting to hear a band that can still issue a nod to this genre, without completely conforming to it. 

Review by Emma Quinlan

  This is only That Fucking Tank’s third album in five years, an appalling slack output compared to the amount of gigging the band do. Wassup, don’t they want a constant stream of new product to sell at gigs? Well, no, they don’t, because I suspect the band have more traditional concerns about ‘the music’ than ideas about commercially exploiting their talent. And that’s not the only thing that marks Ver Tank out from their much paler and feeble cousins at Alt Rock Central. Well, no, they don’t, because I suspect the band have more traditional concerns about ‘the music’ than ideas about commercially exploiting their talent. And that’s not the only thing that marks Ver Tank out from their much paler and feeble cousins at Alt Rock Central.   

Review by Steve Walsh

 Carnival Symposium is the second album by this experienced yet unsigned French omposer boasting a CV that includes music for film, video games and much more besides. 

Review by Mike Price

 Go to UpCDownC’s Facebook page and they say that their brand of music is “Mainly instrumental rock.” Whilst for the most part this is a true statement, this new album by the Kent 4-piece, has so much more to offer than just instrumental rock. 

Review by Emma Quinlan

I have always made it known that I support these guys. It is no secret, they are quite simply amazing, on record and on stage. So the latest offering from these lovelies is something of a treat. Imagine being in a restaurant stuffed from a huge meal, but still not being able to resist the most sickliest dessert. If you can then you have Hunting for Heaven. No matter how full you are you will always have room for these guys. 

Review by Rochelle Massey

 Apparently, The Truth About Frank (TTAF) consist of two electronic musicians and/or sound artists based in Leeds who have slowly but steadily built up an impressive body of work over the last five years. With a mini album and a series of EPs under their belts, this release constitutes their first full length album. 

Review by Steve Walsh

Is it only me who has noticed that now we’re firmly in the download era, the length of an album seems to have shortened? Here I am reviewing yet another ten track long player, this time the third venture from Simon Bristoll aka Captain Wilberforce and friends. Press play and it seems to be over in a flash and do you know what? I’m really glad. ..

Review by Mike Price

Cynics, myself included, might ponder that the legions of mindless NME hyped indie trollop churned out over the last decade has now progressed from dropping an ‘angular’ guitar riff over a disco beat to donning an American accent, buying a flannel shirt and acquiring a pedal board of vast proportions; ultimately confirming our position in this never ending cyclic cultural rehash.

How frustrating it is to then find that Wakefield’s blossoming noise pop trio actually hold some promise... 

Review by Ben Rutledge

 “This record is under 10 minutes long”, is the only detail on the press release for The Nearly’s thirteen track acid rave album Cathode Rave and it’s hard to make out if this is its main selling point, or a sincere apology. It soon becomes apparent that rather than the advertised thirteen tracks the whole of Cathode Rave blends into one schizophrenic mess ...

Review by A F Rushfirth

 Superstar Destroyer Records are right: Math is everywhere except the Chancellors office. Thankfully however the subject of maths isn’t one that has to be all doom, gloom and budget cuts. 

Review by Emma Quinlan

 M.O.J.O., as acronym fans will know, stands for Music of Jamaican Origin. So how well does a cheerful 9-piece from Essex do it? Pretty well, if you ask me! 

Review by Alessandra Gritt

 When you get a box you usually know what you’re getting: 4 sides in the shape of a square or rectangle. However, this EP by indie-electro pop maestro Boxes, is anything but straightforward .

Review by Emma Quinlan

Love Among Mannequins power at you with the heavy use of distortion pedals, like a bull in a china shop and Radial Images is the debut album from this four piece. The opening track is more like 45 seconds of background noise, which probably should have been scrapped. So from this I didn’t really have high expectations but, I was wrong. The second track, ‘Nikolai Fyodorovich Fyodorov’, launches you in to this Marmite album – you’re either going to love it or hate it. I for one love it. 

Review by Rochelle Massey

There are few early signs that Esmerine’s third LP is going to diverge significantly from the now familiar sounds of the Constellation-affiliated acts with which core members Bruce Cawdron and Beckie Foon have played over the years. The opening pair of instrumentals suggest they’re content to explore similar territory to early A Silver Mt. Zion, adopting a starkly minimal approach closer to modern composition than any brand of rock music. 

Review by Greg Elliott

If you have heard ‘Do or Die’, EM’s debut, you will be familiar with their modus operandi and will not require converting. For everyone else, Eureka Machines are in the house and they’ve brought the party pack of rock riffs and solid beats.

Review by Rob Wright

Rosie Doonan’s second album of majestic folk-pop couldn’t be more aptly titled...

This deliciously erotic album is already a commercial success. It’s assured, it’s smooth, it has dreamy tunes and you can leave it on repeat without any danger of crashing changes of mood or nasty turns. To put that another way, it needs rescuing from its own lustrous perfection. It really is a damn fine album and  I love it.

Review by Sam Saunders