No one’s better at being Mark E Smith than Mark E Smith – after all, he’s had years of practice – but Daniel Patrick Quinn comes close. His sprechgesang narratives are...
As one third of Field Music, David Brewis makes chamber pop cut with polished ’70s rock and post-hardcore workouts. His own enterprise is both a very different kettle of carp and yet closely...
Comfortable though laurels probably are, no half-decent band should be content to rest on theirs. Despite the fact that diverging from a successful path involves the risk of alienating fans...
It’s been a long three years since the relase of BFMV’s debut album, ‘Poison’. During that time they’ve been lauded as Britain’s leading metallers, toured the...
Cool and supple, Dawn Landes’ immaculate voice could prove her chief shortcoming. Acting on the New Yorker’s second, self-produced album like pink top-coat, it misleadingly suggests...
Chris Clark’s latest should come with a warning: ‘Do not adjust your stereo’. Gone is his lullaby electronica, in its place a messy, distorted energy flash that will have Justice...
This young Dubliner is so tuned into the blues that unless he’s got a guitar in his hands he probably sits fringe-over-face and surly like Kevin The Teenager. With a six-string at his...
In spite of ‘Spinal Tap’, Tommy Lee and Ted Nugent there are employees in the rock ’n’ roll sector who favour Maracana-sized riffs and yet don’t conform to beer...
Rio-born bossa adventurer edges closer to the middle ground after the comparatively leftfield ‘Horse And Fish’ (2004). On the surface at least. Under the pretty arpeggio and gentle...
With an output seemingly proportionate to the notches on his bed post and a lyrical style best summed up as spunk-stained, many have assigned Arab Strap’s Aidan Moffat to the ‘look at...
