Hotline tnt

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Reviewed by Andi Bridges

Album released 20th June 25

 Having read the Hotline TNT PR blurb before listening to the album I was struck by the phrase, “Will Anderson amplifies everyday heartbreak with towering shoegaze and supersized power-pop anthems that demand to be played loud.”. A quote from Pitchfork magazine. I’ll be honest, the word shoegaze put the fear of God into me. However, any record released on Third Man Records is going to have a mountain of fuzzed up guitar on it, so I needn’t have worried. 

Opener, Was I Wrong – comes across all Indie, and for the first minute and a half looks to be heading towards shoegaze. Then the band kick in, and suddenly the song is propelled by a fuzz guitar riff. A melodic solo introduces itself towards the end of the track which bleeds into track two, Transition - a short instrumental of off kilter psych guitar and keyboards. 

This becomes, The Scene – which gives off huge Jane’s Addiction vibes, thanks in part to drummer Mike Ralston. The song was written in the studio after a fit of pique by Anderson. Will, as previously, wanted to record the album as he has always done. That is decamping to a studio with just himself and a producer to put his songs together piece by piece. The rest of the band, who had been touring as Hotline TNT for the last 10 months had other ideas and turned up at the studio. 

When Anderson and Lucky Hunter couldn’t get their guitars to gel on one of Anderson’s demo tracks, cue aforementioned strop as Anderson took himself off and wrote the track. What is a band to do when your frontman has thrown a wobbly? Written at the same time is Break Right - arranged around a subdued/muted riff with Haylen Trammel’s bass much more to the fore. This song started life as an instrumental jam by the other three members of Hotline TNT whilst left alone in the studio and finished off when Will returned.

Lead single, Julia’s War – has probably the simplest chorus in American Indie rock. “Na Na Na Nah”. When the band stress-tested it during the writing process, the ‘try not to sing along challenge’ came back with a 100% fail rate.” I can confirm it is impossible not to join in with it. If you get a chance, check out the video for it on YouTube. It pokes gentle fun at Military Bootcamps. 

Set closer, Where U Been – starts with an almost trip hop drum pattern and then a guitar imitating a siren brings the band in. On the chorus Will sings “Don’t tell me where you been, we’ll find some time to talk about it, Would I do it all again, come to find I just don’t fit in”.

There is a cohesion across the tracks that I guess comes from a band contributing to the songs rather than a lone artist building the songs from scratch and then hired musicians having to learn the parts for touring purposes. Vocal phrasing and harmonies, at times, remind me of a cross between Bare Naked Ladies and They Might Be Giants. 

There are traces of The Pixies and even a touch of early Weezer, in some of the music. Hotline TNT are threatening to tour over here in November. Did I follow Pitchfork’s advice and play it loud? Of course I did………..and I hope the neighbours enjoyed it as much as I did.

Prescription PR

Reviewed by Levi Tubman

Album released 4th July 25

Some live albums end up becoming more iconic than many polished studio efforts. 

Johnny Cash at Folsom Prison, The Who’s Live at Leeds, and Nirvana’s MTV Unplugged come to mind. These albums succeed because they strike the perfect balance: raw but tight, authentic but sonically impressive. They avoid the pitfalls that often plague live recordings, such as the sound muddy and noisy to the point the listener cant hear details. Live in Studio 3 sidesteps this pitfall, and then some.

Rather than being captured in front of an audience, this live album from Marisa and the Moths was recorded at the legendary Abbey Road Studios with the full band playing together in real time, the way records used to be made, and it shows. Having recently seen their impressive set at The Brudenell Social Club, I was curious to see whether that same electricity could be bottled in the studio or whether it would turn out too dry.

Opening the album is Needy, a favourite to open or finish a live set, starting with guitars being tuned and background chatter, its quieter intro leaves every breath on display, were getting the recording in its entirety. Marisa’s vocals have more grit than the studio recordings, the clean power is still there, but the edges have that little croak that gives it an edge. You’re just getting into the song, expecting the guitars and rest of the band to come in hard but here the guitars are an onslaught of sound, not over loud or over distorted just pushed hard and wide encompassing everything. The twin guitar solo’s give way to just bass and vocals, again with every rattle and plectrum stroke laid bare with perfect tone before the guitars come back but it’s still there underneath rumbling away.

Following this up with Skin and Who Are You Waiting For, the drums go from being a part of the band on the studio version to leading it, the kick thumps through perfectly complimented by the crisp snap of the snare I’m on my third listen through before I even notice the vocals. Recorded at the same time in the same studio, the two songs are so different to the first with the live environment amplifying the differences. These are for the rhythm section the drums and bass working with each other with cymbals washing over the mix running down the toms while rich basslines provide the melody and hook, coupling this with some of the best guitars and vocals on the album they particularly stand out for me.

SAD loses its presumably intentional playfulness, with the vocals taking on a more sombre tone in keeping with the song’s lyrics and meaning. Toning down the vocal façade of happiness does nothing to lessen the songs impact, its quitter sections help to highlight show off the bands individual skills again coming in and out when needed all under the watchful gaze of those ever-present vocals, especially with the outro vocalised oooh’s brought loud and up front instead of quietly in the background. 

Rounding off the album is Borderline, a track that stood out for me live, starting with its quiet picked guitar and fragile vocals, it’s an angst-tinged anthem. Mixing calm mellow verses with angry guitar bite, while not straying that far from the original the more dynamic recording amplifies the differences in the sections hammering the choruses home.

Live they’re a force to be reckoned with, a wild unabashed energy and sound that is often hard to capture in the studio, with band members recording parts one at a time, but this record manages to capture the live essence without sacrificing sound quality. If you already own their studio albums, this live record still deserves a spot in your collection. And if you pick it up on vinyl or CD, you’ll also get bonus recordings from their headline shows, a nice little extra for fans. 

The little extras such as announcing take one before a song or chatting just after while tuning up add to the feel of the album, dropping a barrier and help bring the audience in, to add to the live feel. This is a fantastic album, get it, and then complete the experience by seeing these guys live as soon as you can.

Track Listing:

Needy

Skin

Who Are You Waiting For?

SAD

Get It Off My Chest

Choke

Pedestal

Borderline

Reviewed by Dave Flerin

Album released 25th July 25

Four-piece indie guitar boys The K’s are back with their second album, hot on the heels of taster single, “The Bends (Here We Go Again)”. And they’ve been busy little bees (sorry, K’s) of late, having completed a UK tour in June to publicise “Pretty on the internet”. They’ll be hoping to raise things up another notch with a series of festival performances this summer, no doubt hoping to gain some momentum and actually make a proper living out of this whole music lark.

So, it’s with anticipation that I hit play on Windows Media Player and they immediately attempt to seduce me with “Before I Hit the Floor”. On first listening, it’s melodic and completely inoffensive indie guitar muzak, which back in the day would feel a bit like an insult for any self-respecting indie band, but indie is a different beast these days. From its title, “Rat Poison” sounds like it’s going to break the mould already established but it’s another up-tempo pogoing crowd-pleaser, and I’m starting to get a clear picture of what they’re about. There’s no revolution or incitement to riot within this album. 

This is the sound that indie pin-ups for today’s teens make, and they’ll probably go down a storm at something like Leeds Festival, which is overrun with joy-seeking teens and those in their early twenties. In fact, if “Friends” was still on, they’d probably feature in an episode called "The One Where Rachel Missed Seeing The Ks”. It’s all very innocent, and your friends would have no objections if one of the band went out with their offspring, unlike the bands of yesteryear.

The current single is in the same mould as the rest. To me, that means if you really like one song here, then they’re absolutely the band for you, and vice versa. “Helen, Oh, I” is their best song title, and a nice little tearjerker it is too, with strings for added gravitas; a very welcome antidote to the endlessly upbeat tunes which populate the rest of the record.

On “Sold It, Own It” Jamie sings about being “one step away from reaching my dreams,” and you know this is utter rubbish. He’s actually living the bloody dream! Writing music other youngsters like, touring, frequenting recording studios, releasing music, experiencing the excitement of hearing your music on the radio, etc. He obviously needs some miserly old frustrated musician music reviewer to set him straight. Wake up and smell the coffee, Jamie!! You’re winning at life!

“Running Away Now” then finds him sounding a little like Alex Turner at the start (or maybe his distant cousin from a nicer part of town), before future festival bouncer “Gravestone”, and the ballad-y “Perfect Haunting” close out the album.

Ideologically, I really want to dislike them, but I’ve not got it in me to do that. To combat my natural cynicism, they manage to throw in an unexpected twist of a melody here, and a surprise guitar riff or resonant lyric there, with the result that I begrudgingly can’t help but like them. 

They’ve not got the scary power of My Bloody Valentine, neither have they got the sauciness of CSS or Wet Leg, they’ve certainly not got the artiness of Stereolab, and unlike the members of The Brilliant Corners, they probably can get girlfriends. Ahh, how indie has changed... But, they are fun, and they’ve got a wholesomeness that for some, will be irresistible. It’s music for today's uncomplicated young to soundtrack their lives with.

“Pretty On The Internet” is out now on all the usual formats, and you can catch them doing the festival rounds this summer.

Sonic PR

Reviewed by Huw Williams

Album released 1st Aug 25

Hot on the heels of his Grammy win for co-writing Saturn with SZA, Cian Ducrot’s hotly anticipated new album - out August 1st - delivers exactly what fans might expect: raw honesty, the kind that defined his debut. This time, though, it’s paired with sleeker production and the assured voice of a songwriter who’s truly hitting his stride.

But first things first, if you’ve ever wondered how to pronounce “Cian,” the opening track clears it up with a nod to his frustration. “It’s KEE-an, bitch!” he snaps, leaving no room for doubt.

Introductions out of the way, we’re taken on a journey that shows how Ducrot has grown over the past few years. This is an album that wears its influences proudly. Take Who’s Making You Feel It?, for example: the opening piano recalls Elton John before launching into a soaring chorus. Lyrically, it’s playful and laced with sarcasm as Ducrot questions whether his ex’s new guy measures up. It’s relatable, but rather than diving headfirst into heartbreak, there’s a sharper, more defiant wit here.

The title track, Little Dreaming, is a refreshing shift, giving us a bright, upbeat moment that contrasts with the heartache-heavy tone Ducrot’s known for. It’s a welcome breather early in the record, underpinned by a Queen-esque harmonic bridge that lifts us back into an unrestrained, hopeful chorus.

Tracks like The Book of Love and God Only Knows return to familiar ground. Aching, lovelorn ballads reminiscent of Sheeran and Capaldi. They’re solid enough, but a bit predictable.

What About Love? explores society’s obsession with wealth and appearance.  “I wanna be rich, I wanna be skinny, I wanna be happy /  I wanna be yours, I wanna be theirs, but where would that get me?” 

Ducrot questions the value of chasing these ideals, even when some are within reach. It’s a quiet critique, asking whether all this striving is truly fulfilling.

Shalalala invites audience participation with a call-and-response structure. There’s an attempt at social commentary in the opening verse, touching on the state of the world, but the sentiment lacks real bite. 

“I guess that’s just the state of things /
But we don’t know what life will bring /
With our voices we can sing Shalalala.” 

It’s no Bob Dylan or Billy Bragg, but it’s easy to imagine this track becoming a crowd-pleaser live, or lending itself to a flash-mob singalong reminiscent of Ducrot’s early rise.

Midway through, there’s a lovely nod to Ducrot’s Irish roots. A tin whistle solo and stripped-back production give Kiss and Tell the feel of a traditional folk tune. It’s a pretty little track that transports you directly to the Emerald Isle.

My Best Friend shows that he still has the ability to pull hard on your heart strings. A raw, deeply emotional track, the power is in its simplicity. Heart on sleeve, this feels like the follow up to Part of Me, his 2023 tribute to a best friend lost to suicide. When that song surfaced, Ducrot promised to use his platform to make sure his friend was never forgotten and as he pledges in this new track “I promise that I’ll sing of you everyday / Till everybody in this world knows your name”. Devastatingly clear and concisely put.

The album closes on an uplifting note. Your Eyes beams with contentment earned through struggle. Ducrot acknowledges the material gains he’s made, but it’s the people around him who make life meaningful. This gratitude carries into the final track, See It to Believe It, another ode to love, happiness, and connection. Though the upbeat tracks are fewer, they leave us with a sense of balance, a touch of light after the emotional weight of earlier songs.

So where does that leave us? There’s something for the early fans, the tales of heartbreak and loss are still the crux of the album. But there’s hope, humour and optimism to balance. As the title track says, and in more ways than one, “There’s nothing wrong with a Little Dreaming”

Chuff Media

Reviewed by Neil Milner

Album released 1st Aug 25

Two decades on, Coles Corner remains what it always was: a masterclass in musical time travel and emotional candour, wrapped in the kind of sonic tailoring so refined it might just out-drape Sinatra’s lapels. It is a love letter to Sheffield wrapped in velvet, nostalgia, and perfectly timed reverb. To call it “excellent” would be like calling Champagne fizzy; it’s true, but woefully reductive. 

Richard Hawley, Sheffield’s melancholic crooner and resolute romantic, distilled the soul of an entire city into this record. Coles Corner is a storied local meeting place for loves old, new, and on the verge.

The album offered a cocktail of early rock and roll, rockabilly, 1940s pop, jazz, blues, and country. This is retro, not by mimicry, but by identity. Coles Corner doesn’t flirt with nostalgia; it marries it, then takes it dancing under the moonlight. Yet Hawley isn’t peddling pastiche. He’s no Shakin' Stevens in disguise, and this is not some kitsch jukebox jaunt, although I know he owns a jukebox, and it may or may not be kitsch! What we have here is a borderline masterpiece that gracefully commandeers the adult contemporary lane and then politely reinvents it, adding polish without pretension, although pretension has occasional benefits.

Take the title track The Ocean, which could easily have slipped from Burt Bacharach’s desk and into Sinatra’s repertoire had time bent differently. It shimmers with beautifully. And ballads like Hotel Room and Darlin’ Wait for Me positively beg for Roy Orbison’s quiver or Presley’s velvet growl, especially the endings, which feel like open windows into forgotten eras.

Part Two, the bonus round of single edits and B-sides, is more for Hawley completists. Covers like the Jesus and Mary Chain’s Some Candy Talking arerendered with reverence, while Kelham Island and other instrumentals offer moody slide guitar vistas. 

Admittedly, a few tracks tiptoe towards filler, single versions and acoustic retakes. But even these, like weathered polaroids, possess charm in their imperfections. In summary, Coles Corner is brazenly retro, achingly beautiful, and continues to disarm with every note. Hawley doesn’t live in the past; he simply visits there and brings back gifts for the knowing masses to swoon over.

Track listing:

Part 1:

1. Coles Corner

2. Just Like the Rain

3. Hotel Room

4. Darlin' Wait for Me

5. The Ocean

6. Born Under A Bad Sign

7. I Sleep Alone

8. Tonight

9. (Wading Through) The Waters of My Time

10. Who's Going to Shoe Your Pretty Little Feet

11. Last Orders

Part2:

1. The Ocean (Single Version)

2. Just Like the Rain (Single Version)

3. Born Under a Bad Sign (Single Version)

4. Hotel Room (Radio Edit)

5. Long Black Veil

6. Room with a View

7. I'm Absolutely Hank Marvin (feat. Hank Marvin)

8. Dark Road

Sonic PR

Reviewed by James Fortune-Clubb

Album released 1st Aug 25

'The New Eve is Rising' is the title of brand new debut album from Brighton four-piece, The New Eves, due to be released on 1 August 2025 (via Transgressive).

The New Eves (first impression - terrible and lazy band name) are a four-piece, comprising Violet Farrer (guitar, violin, vocals), Nina Winder-Lind (cello, guitar, vocals), Kate Mager (bass, vocals) and Ella Oona Russell (drums, flute, vocals), 

The album starts somewhat unpromisingly with opener The New Eve, mainly spoken word sixth form poetry, which is by all accounts what it actually is.

Therein in however, things take a steep turn upwards to deliver what turns out to be a really strong album (debut or otherwise) - it's that opening track which belies and detracts from the excellence of the rest of the album.

The New Eve is Rising has a great late punk/post punk/DIY feel to many of the tracks as well as the production stylings throughout. Bearing in mind the brief description I was aware of regarding The New Eves and the list of instruments used - rather than the anticipated Pogues or The Men They Couldn't Hang expected influences here we have much.moreso and very welcomely - definite echoes of The Raincoats - particularly on tracks such as 7 and 9.

It's a really well delivered and played album with great tracks throughout (opener notwithstanding) and I hope the band pursue the sound and style of this album and don't bland down that sound, because it's those DIY rough edges that make this debut album work so well.

I'm looking forward very much to seeing what The New Eves do next, hopefully if live dates are planned, it will be great to see how the album translates into a live setting - optimisticly they'll hopefully be more than capable of delivering a  suitably DIY, partially controlled, shambolic wall of chaotic noise perchance? Here's hoping, because it's definitely those rough edges where they excel - more of the same please next time.

Track listing for 'The New Eve is Rising' as follows:

1.⁠ ⁠The New Eve

2.⁠ ⁠Highway Man   

3.⁠ ⁠Cow Song   

4.⁠ ⁠Cricles

5.⁠ ⁠Mary

6.⁠ ⁠Mid Air Glass

7.⁠ ⁠Astrolabe   

8.⁠ ⁠Rivers Run Red  

9.⁠ ⁠Volcano

Stay Golden PR

Transgressive Records

Reviewed by Chris Morley

Album released 22nd Aug 25

If you wanted a sound that expands on Deftones' critical reputation as the Radiohead of metal, Private Music will give you plenty to chew over, possibly digested alongside Adrenaline, Around The Fur & White Pony, Pantera- size riffs over the dreamier side of the Cure/ electronic- period Thom Yorke & chums ( the run from Kid A-The King Of Limbs), opener My Mind Is A Mountain setting the pace with a touch of My Bloody Valentine thrown in for good measure to continue their experiments with a more industrial sound as pursued on Koi No Yokan & Gore.

Its also arguably their most spiritual work yet, further single Milk Of The Madonna ramping up the metaphysical metal, I Think About You All The Time the first time the drop-tuned tempo drops a moment, in what could be a remembrance of late bassist Chi Cheng. A little piece of dream- metal from a band that has always sought to stretch the form beyond what some might call its self- imposed limits, Chino Moreno's Eighties synth/ pop influences going some way to ensuring they stand out from a sizeable proportion of the competition. 

Turn on, tune in & dream away....

Public City

Reviewed by Lewis Wolstenhome

Album released 22nd Aug 25

Mac DeMarco is back from his previous 2023 releases ‘Five Easy Hot Dogs’ and the 199 track ‘One Wayne G’ with his new album ‘Guitar’. Recorded in its entirety at Mac’s home in LA, ‘Guitar’ brings the same warm characteristics Mac has been previously known for. A standout track, ‘Home’ explores the new narratives of the meaning of home to him with an accompanying video that’s on YouTube now.

For fans of his previous albums, not too much has changed in his exploration of sound; each track has its own originality. ‘Guitar’ is a raw, unprocessed but beautiful sounding project that almost shows perfectness in its flawed and human tendencies. Slightly out of tune warped instrumentals that push and pull tempo, dry compressed drums, and largely unprocessed vocals are in every track. 

Once again, Mac’s messages cut through each track through this and his matching vocal performances. Going a different route to a new explored sound would have completely missed the point and it’s clear that Mac sticking to his sound has made this project shine. Mac is describing where he is at this point in his life and keeping true to his raw instrumental and dry vocal sound conveys his emotion more than any slightly more produced song could. 

Of course, this album is very guitar-centric as suggested through the title, and where I might’ve personally favoured some more “out there” harmonic choices like at the very end of track 6 ‘Rock And Roll’, each song provides a smooth and sweet instrumental supporting Mac’s vocals very well. We’ve been presented with a very consistent and unique 12-track album that, in the mix of current indie pop releases, really stands out as unique and original to him. 

In an interview with Triple J, Mac talked about recording the project in 12 days and each track in its own, almost being a demo. It’s a pure representation of what was at the heart of each track and what happened when the record button was pressed. I can’t wait to hopefully catch some of the album live on Mac’s upcoming tour and see how they will shine in a live setting. This album is for those looking for something new and original to listen to with a lot of heart at its core, and for those who are fans of his already, ‘Guitar’ is definitely worth listening to!

Track list:

1 – Shining

2 – Sweeter

3 – Phantom

4 – Nightmare

5 – Terror

6 – Rock And Roll

7 – Home

8 – Nothing At All

9 – Punishment

10 – Knockin

11 – Holy

12 – Rooster

Stay Golden PR

Reviewed by Any Weston-Shaw

Album released 22nd Aug 25

With The Clearing, Wolf Alice prove once again that they are not a band content to stand still. Known for their ability to shapeshift between dreamy shoegaze, snarling grunge, and glittering pop, their latest record pushes that versatility further than ever before. This album doesn’t just feel like a collection of songs, it plays like a narrative, each track adding a new shade, a new terrain on the musical landscape, until you’re left with something expansive and deeply affecting.

One of the immediate standouts is Leaning Against the Wall. At first it dabbles within country tropes, twangy textures and a sense of wide-open space, but Wolf Alice refuse to leave it there. Layers of synths and unpredictable drum samples twist the song into another dimension, creating something both alien and familiar. It’s a surprising experiment, but it feels utterly natural in their hands, and more than that, it’s exhilarating to hear them find new ways of expanding their sound.

Long-time fans will find The Clearing to be exactly the step forward they were hoping for. Rather than leaning on the styles that won them acclaim, the band push deeper into their range of influences and explore unexpected hybrids, all without losing the emotional core that has always anchored their work. There’s grit and tenderness, melody and noise, intimacy and widescreen drama, often within the same track. This can be seen in standout tracks such as Bread Butter Tea Sugar, Thorns, and Just Two Girls.

Wolf Alice have always been difficult to pin down, and this album makes that a strength. The Clearing feels like a band widening their world, trusting their instincts, and bringing listeners along into uncharted territory. It’s bold, ambitious, and, above all, fresh, the kind of record that reminds you why you fell in love with them in the first place. 

This band have been a huge influence on me and for any Wolf Alice fan, this album will not disappoint.

Review - Chris Morley

Album released 5th Sept 25

“Bedroom musician” doesn't tend to be a term we hear so much nowadays, but Joseph Mount of Metronomy may be the closest we have to a garage one in the truest sense- listen to the live disc of this compilation of the best bits of his shift from electronics into a more streamlined funk- Prince meeting MGMT/ Commontime- era Field Music/ Kraftwerk. 

You can hear the various components he lashes together working to create the whole before the first yields the result- a sort of danceable highlights music of the sort you might expect to hear while the Goal Of The Month contenders are being shown on Match Of The Day – try finding any past such attempt with the sound off & you may begin to see/ hear the energy created, build up then release, the musical equivalent of the “ wand of a left foot”......& in what might come as no surprise, My Heart Rate Rapid has indeed appeared in a Match Of The Day 2 playlist.

A definite Saturday night vibe, then. The Look kicking off a seven- album retrospective for a man/ band who don't feel twenty years old, the metronome still ticking over & no doubt plenty still on the showreel.

Sonic PR

Review - Chris Nutton

Album released 12th Sept 25

Two decades after Devendra Banhart released ‘Cripple Crow’, a mixture of folk mysticism, anti-war anthems, and surrealist lullabies— the 20th Anniversary Deluxe Edition arrives not just as a nostalgic reissue, but as a reminder of the album’s strange magic. Coming in now at 113 minutes long, the deluxe edition will be issued as a triple LP, featuring B-sides, unreleased demos, and live recordings of original hits such as "Long Haired Child" and "Haired Mama Wolf." Following on from that, it will also include expanded artwork, liner notes penned by Banhart, and even a fold-out poster - making it a pick up for collectors.

Released in 2005 at the height of the “Freak Folk” movement, Cripple Crow marked a high point in Banhart’s discography. The album was both chaotic and cohesive, childlike and deeply political, deeply rooted in American folk traditions while simultaneously evoking South American rhythms, psychedelic pop, and communal experimentation. It was messy, spiritual, and singular. And now, in 2025, it feels even more necessary.

The 20th anniversary deluxe edition brings more limelight to the freak folk traditions, with more cohesive and experimental sounds ranging from peaceful to chaotic melodies. The 20th Anniversary packaging, featuring unseen photos and handwritten lyric sheets, offers fans a tactile window into the Cripple Crow universe. The gatefold vinyl is a feast—complete with reimagined liner notes, essays from collaborators (including Noah Georgeson and members of Vetiver), and Banhart’s own reflections: “Equal parts gag and pride,” he writes, “Cripple Crow is a scrapbook from a beautifully free time.”

This isn’t just a reissue— it’s a reawakening. The Deluxe Edition doesn’t invite you back to 2005; it invites you to reconsider what it means to create art outside of boundaries. Devendra Banhart’s most ambitious album remains a flawed, fearless triumph—and now, more than ever, it sings.

Stay Golden PR

Reviewed by John McEvoy

Album released 12th Sept 25

Carl Baldassarre’s latest release, Deep Grooves Vol. 1, is a masterclass in musical exploration—an 11-track journey through the lush landscapes of neo-funk, soul, R&B, and pop. Known for his progressive rock roots with Syzygy, Baldassarre pivots with style and substance, proving his versatility and deep musical intuition. 

Opening Track ‘Keep It Up” sets the tone with silky smooth grooves reminiscent of Herbie Hancock’s Headhunters era. It’s pure ear candy that will stick in your brain from the off and you will want to listen to this track many times.

The tempo is taken down a notch or two with the slow and sensual “Show Me” which is a great example of the versatility of Carl Baldassarre. 

But for me it’s the up-tempo tracks such as “Keep the Groove Alive” & “Joy Ride” which are real standouts for me with their 70’s style funk, all reminiscent of Earth Wind & Fire and Kool and the Gang, which if course is no bad thing!

And throughout this excellent album there are great dancefloor tunes that will without a doubt get you moving along to the energy and rhythm each bring to the party. 

It must be said that the musicianship on display throughout this album is of the highest quality from a lineup of guests including Jacob Dupre (keyboards) and Nick D’Virgilio (Drums) to name just two. 

This is the second album in a series of 4 from Carl Baldassarre in which (as the press blurb says) with ‘each offering a different slant and flavour from this multi-talented guitarist, composer and producer’.

Based on this outing, I am very much looking forward to album No. 3 from a talented and innovative artist. 

Give it a try, I think you’re really going to like this one!!

Track List:

1. Keep It Up
2. Heaven
3. Famous
4. Show Me
5. Forever With You
6. Sorry
7. Keep The Groove Alive
8. Joy Ride
9. Love The Way
10. 321 Let’s Go
11. Blue Space

Chris Hewlett PR

Reviewed by Neil Milner

Album released 3rd oct 25

Ad Astra, Latin for “to the stars,” is Ash’s ninth studio album. The Northern Ireland trio seem intent on rekindling their youthful exuberance while casting glances toward more cosmic, contemplative horizons.

I’ve fond memories of early Ash, the bratty brilliance of singles like “Jack Names the Planet,” the martial swagger of “Kung Fu,” and the interstellar yearning of “Girl from Mars,” (which itself prophetically contains the phrase “to the stars”). Those early records, Trailer and 1977, were rocket fuel for my younger restless soul.

On Ad Astra, Ash oscillate between jangly pop and towering riffs. One moment you’re unpredictably wrapped in clean, chiming guitars reminiscent of Gene, The Go-Betweens, and The Smiths (“Which One Do You Want”), the next you’re swept into an expected maelstrom of power chords that bulldoze complacency with impish glee (“Hallion”). It’s a simple, engaging record, occasionally surprising, rarely alienating.

Graham Coxon’s guest turn on “Fun People” injects a Blur-like swagger, lending Ash a playful urgency that feels both nostalgic and refreshingly unforced. He returns on the title track, where an incendiary opening, the melody uncannily akin to the opening of Baccara’s “Yes Sir I Can Boogie”, gives way to an anthem of claustrophobic longing and open-space liberation.

The album opens with “Zarathustra,” a rock-inflected take on the iconic fanfare from 2001: A Space Odyssey, complete with Brian May-style flourishes. It’s a bold gesture, transforming cinematic grandeur into something more personal, more human. Later, their cover of Harry Belafonte’s calypso classic “Jump in the Line” swaps steel drums for crunchy riffs. In my day, this was a bona-fide student / indie dance-floor classic, which I would have observed askance, but secretly nodding my approval wishing I was there with them.

“Keep Dreaming” and “Dehumanised” nod to their early years with punch and polish, while “Give Me Back My World,” written during pandemic-era turmoil, resonates with renewed relevance. Tim Wheeler’s assertion that “in a time of chaos, disruption and angst there’s still a beautiful world out there and it’s worth fighting for” reads as both personal credo and quiet rebuke to monocultural populism.

The juxtaposition of opening and closing tracks Zarathustra and Ad Astra, one evoking Nietzschean self-overcoming, the other sci-fi introspection, hints at a conceptual thread. Both explore themes of isolation, discovery, and the search for meaning, whether gazing beyond the firmament or plumbing the soul. Is this the album’s intent? Perhaps.

Ad Astra won’t win new legions, but it doesn’t need to. It’s a deftly crafted palette of riffs and reverie that keeps long-standing fans aloft, looking up, and wondering what lies beyond.

Track listing:

01. Zarathustra

02. Which One Do You Want?

03. Fun People

04. Give Me Back My World

05. Hallion  

06. Deadly Love

07. My Favourite Ghost

08. Jump in the Line

09. Keep Dreaming

10. Dehumanised

11. Ghosting

12. Ad Astra 

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Fierce Panda records

Reviewed by Chris Morley

Album released 3rd Oct 25

Thirty years not out for Idlewild, & just as melodic as when they first made the switch around The Remote Part, this self- titled set arrives. 

The convention in itself often yielding mixed results but here feeling quite timely as a statement of who they are, past & future considered somewhat wistfully if tunefully across the likes of Like I Had Before, Its Not The First Time & ( I Can't Help) Back Then You Found Me, somewhat calmer than their earlier hardcore introduction to proceedings- “the sound of a flight of stairs falling down a flight of stairs” as the NME put it.

At least the core trio of Roddy Woomble, Rod Jones & Colin Newton seem to have kept up their climb, Writers Of The Present Time & End With Sunrise feeling like a suitably tranquil end to what could be the story of the friendship that's taken them to this point. 

Stay Out Of Place & Make It Happen the only two nods to something a little more frantic as they settle into what must pass as middle- age territory for most bands, quite a feat in an age where music can often be made to feel sadly disposable.

Prescription PR

Reviewed by Andi Bridges

DVD released 3rd Oct 25

Are there any less likely rock stars than Jack Black and Kyle Glass? Two portly gentlemen of a certain vintage, one balding and bespectacled the other sporting a ridiculous beard. But as Tenacious D: Masterworks Vol. 3 (hands up if you knew there were Volumes 1 & 2) proves, they are loved. The Metal community has unlimited capacity to embrace a gentle mocking of the genre if it comes from a place of love and it does come from that place. Who can forget Jack’s passionate tribute to Led Zeppelin at the Kenedy Center?

The opening frames of the DVD are the band backstage making their way to the arena, as they hit the stage an almighty roar goes up and the camera pans across the enormodome. I thought to myself - the Americans really love them, so you can imagine my shock when I realised it was the O2, Greenwich.

They open with Kickapoo from The Pick Of Destiny. Backed by a three-piece band, John Konesky - Guitar, John Siker - Bass and Scott Seiver - Drums with both Kyle and Jack playing Acoustic guitars. What is obvious straight away is Kyle is no slouch when it comes to playing riffs. At the end of the song, it’s Jack’s turn to demonstrate his frontman credentials. “What’s up London”, massive cheers from the crowd. “That’s what I’m talking about. Sexy town London. It’s a fucking sexy town. What you doing after the show? Care for a stroll along the River Thames? That’s a sexy fucking river. King of dirty though.” Which is an excellent intro to Low Hanging Fruit.

Over the course of the 10-song set there are moments of high jinks and (deliberately) bad comedy. Jack boasts of having pyro for the show and when it doesn’t go off, he brings the new roadie responsible for it onto the stage. Biff duly arrives and is admonished by the band. He departs to the phrase; there goes Biffy Pyro. When not tied to the mic, Jack is gambolling about the stage like a 10-year-old kid with ADHD, gurning into any available camera or failing that gurning at Kyle. We forgive him though because his vocal range is astounding. Honourable mention to the Saxaboom and Maxaboom skit which is very funny

The bulk of the set comes from the Pick Of Destiny album although all three albums are represented. We get Wonderboy and Tribute. For The Metal a fella in a metal robot costume comes and takes centre stage. The lighter moment comes after a stage-managed row between our heroes and Kyle quitting and leaving the stage only for Jack to break into Dude I Totally Miss You. Of course, Kyle returns mid-song and there is a make-up Bro hug at the end of the song.

The guitarist gets to take a starring role during Beelzeboss (The Final Showdown) as bathed in red light he plays as though possessed by the Devil as Jack and Kyle battle to exorcise him.

For the encore Jack says they will play a song they never play live because London deserves it, and they romp through Master Exploder and round off the evening with Fuck Her Gently, whilst 20,000 voices all sing along.

The concert lasts just over an hour; I assume that the Blu-ray/DVD will have plenty of extras that I didn’t get to review.

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