The new album by Turin Brakes is characterised by two things: unremarkable, ambulatory alt-rock, and poor word choice.
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While their sound exemplifies all of the trademarks of the garage genre, The Black Lips’ employ an encyclopaedic knowledge of the history behind rock ‘n’ roll to differentiate themselves from others in the genre.
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Hailing from Ontario, Canada, the do-it-yourself electronica of Daniel Snaith’s one-man band Caribou isn’t the most obvious source for bringing the bright sounds of sixties summer pop to the cold Irish winter
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WB previews next week’s 1967 Retro Edition with a glance back at the The Velvet Underground’s debut.
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The M’s Future Women failed to make any major impression, and never once was I in any sort of danger of driving off the road.
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The World Is Yours isn’t Brown’s strongest set of songs to date, but it is his most cohesive album musically.
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Some people just can’t fake it.
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With the inclusion of a Wurlitzer and banjo, along with its obvious heavy rock overtones, Grand Island attempt to mix Hardcore, Prog Rock and Bluegrass.
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The album as a whole was conceived as a voice for the tension between inescapable fate and the perceived freedom of the open road.
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Múm’s latest album is like listening to a child you’ve just realised is much smarter than you. 
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Although the tracks that make up Back Numbers are clearly love songs, they’re washed out, favouring mood over direct meaning. 
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When you call your band The Exploders, you’re setting a certain level of expectation in the minds of your potential fans.
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