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On 'Noisebleed', Laurie Black demonstrates a deft ability to synthesise an eclectic palette of electronic styles into something surprisingly cohesive. The record moves between theatrical Art-Pop, Techno propulsion and Trip-Hop atmospherics, yet always keeps one foot firmly on the dancefloor.

Opening track 'It’s Happening' bursts into life with frazzled, breakneck beats recalling The Chemical Brothers at their most block-rocking and the early Rave-Punk energy of The Prodigy. Over the top float crystalline vocals that temper the chaos with a cool, melodic sheen.

'Lemons' begins with a punchy breakbeat before slipping into a sleek, Pop-Electronica mode reminiscent of the 'Ray of Light' era, shaped by the sonic fingerprints of William Orbit and Madonna. At the bridge it pivots elegantly toward the motorik precision of 'Trans-Europe Express' by Kraftwerk.

The title track 'Noisebleed' carries a darker intensity, evoking the mechanical pulse of 'Army of Me' by Björk before surging forward with the urgent club momentum associated with Josh Wink. Its lyric, “one door opens as one door closes”, lands with evocative weight.

Elsewhere, 'Beyond Bliss' drifts through more Orbit-era Electronica and the shimmering melancholy of 'Teardrop' by Massive Attack, with flashes of icy glamour reminiscent of Goldfrapp.

The socially conscious 'Tastes Like Blood' warns of the dangers of silence, while 'Axis' rides a relentless Techno pulse to critique the erosion of community spaces by speculative development. 'Rewilderness' leans into harsher industrial textures, echoing the dystopian synth aesthetic of Gary Numan.

Late-album highlights keep the conceptual edge sharp. 'Deadspace' offers a sly commentary on celebrity spectacle, nodding toward Katy Perry’s recent trip to space, while 'Whale Bones' closes with claustrophobic Trip-Hop beats and eerie, whale-like vocal textures, underscoring environmental anxieties.

Across nine tracks, 'Noisebleed' reveals Laurie Black as a sonic magpie with purpose: drawing from electronic music’s past while crafting something theatrical, atmospheric and unmistakably danceable.

Ivan De Mello

Opening with the reflective instrumental ‘Fragments’, Johan Steensland’s 'Duality' sets the stage for a fully realised Rock opera. The album follows a fiction writer recovering in hospital after a car crash. Stricken with amnesia, he attempts to reconstruct his identity through scattered memories and imagination. A nurse, voiced by Aleena Gibson, becomes a key presence in the story, her warm vocals providing a welcome counterpoint to Steensland’s own and adding emotional depth to the unfolding narrative.

Given its concept-driven framework, the album’s length and Progressive ambition feel intentional. Early highlight ‘I Believe I’m Kind’ neatly captures the record at its most compelling. Steensland’s vocal delivery carries an intriguing resemblance to Peter Gabriel, though tinged with a subtle Nordic character. The track rises on carefully layered arrangements and shifting time signatures, with melodies that soar while retaining compositional precision.

'Duality' is an album that benefits from repeated listening. At first pass its generous runtime may seem slightly indulgent, and a few moments appear to edge towards polished Prog-Pop territory. Yet with time the album’s subtleties emerge and its structure reveals itself as carefully assembled rather than sprawling.

Among the standout moments is ‘The Shredded Suit’, where Per Nilsson’s piercing, fusion-tinged guitar work cuts through the arrangement with striking clarity. ‘Let Me In’ follows with a surge of melodic lift before giving way to ‘Ordinary Man’, whose groove is driven by tight, almost military-style drumming and an infectious sense of Funk.

Elsewhere, ‘Walking in a Straight Line’ introduces flickering electronic textures that provide an atmospheric setting for Steensland’s expressive vocals. These moments highlight the album’s attention to sonic detail as much as its narrative ambition.

Closing track ‘Here and Now’ brings the Rock opera to a satisfying conclusion. Its uplifting tone carries a quietly spiritual resonance, suggesting the fractured elements of the story have finally come together.

Ambitious, occasionally indulgent but ultimately rewarding, 'Duality' is a richly layered progressive work that reveals more with each listen.

Ivan De Mello

There’s a confident swagger running through 'Angel on the Mississippi', the latest release from Tom Davies and the Bluebirds, that marks it out as a band utterly at ease with its influences yet keen to bend them to its own ends.

Opening salvo 'You’re Gonna Wreck My Life' wastes no time. Built around a riff that nods firmly in the direction of Led Zeppelin’s 'Heartbreaker', it beefs up the attack with a growling Hammond organ that thickens the groove and gives the track a churchy, Southern hue. It’s punchy, strutting and immediate.

'Blues for Greeny' kicks into life with the insistent propulsion of Pink Floyd’s 'Money', before sliding into a sinuous Blues figure reminiscent of Fleetwood Mac in their 'Black Magic Woman' pomp. A subtle hint of Cuban-inflected drumming adds an extra layer of rhythmic spice, preventing it from ever feeling derivative.

'Devil’s Highwater' takes a more angular route. There’s a touch of Franz Ferdinand’s clipped urgency in the opening gambit, but Davies and co quickly descend into a muscular Blues riff before unleashing more Page-like guitar flourishes. It’s a track that shifts gears with relish, balancing Indie tautness and classic Blues-Rock heft.

Throughout the record Davies proves himself a commanding frontman. He mixes the impassioned, chest-thumping delivery of Andrew Strong with an ability to rein in the power, dropping into a sotto voce for the more maudlin moments. That dynamic control gives the album emotional breadth.

The Hammond organ brings beautifully soulful touches across the set, but it’s the guitar work that demands you simply stand back and admire. Nowhere is this clearer than on the near nine-minute title track, 'Angel on the Mississippi', where layered textures and soaring lines build to a thrilling crescendo without ever losing clarity.

Closing number 'Mainland Evil' arrives like a sombre hymn, its coda unfurling with a stately, almost liturgical gravity. It’s a fitting benediction to an album that marries firepower with feel, and reverence with rawness.

Ivan De Mello

There’s something refreshingly unpolished about 'Doll'. In an era where Alternative Rock is routinely smoothed into submission by over-production and algorithm-friendly choruses, Liliths Army instead choose abrasion, volatility and the occasional left-field curveball. The trio of Sylvie Studente on vocals and guitar, Tommy Mayo on bass and Sam Sherwood on drums play like a unit that values impact over perfection, delivering songs that feel lived-in rather than lab-tested.

It opens with 'Eat My TV', a gleeful skewering of the tawdrier corners of Hip-Hop culture and its hyper-sexualised video aesthetics. Studente’s delivery is acidic yet playful, bubblegum Punk hooks recalling Shampoo filtered through distortion and attitude, while Mayo and Sherwood lock into a deceptively tight groove beneath the chaos.

From there the record turns darker. 'Cursed' stalks in on Sherwood’s thunderous drums and Mayo’s ominous bass line, with Studente sounding less sung than exorcised. 'Reach Out' keeps the same pressure-cooker intensity, as if the band are daring you to blink first.

'Stoop' sits somewhere between ’90s Grunge and the shadowed end of Black Sabbath’s catalogue, all mud-caked riffs and bleak momentum, while 'Get Away' tips its hat towards 'Smells Like Teen Spirit' without collapsing into pastiche.

The middle of the album briefly lifts the clouds. 'Breathe' breaks from the gloom with a genuinely uplifting chorus, and 'Drain Me' pairs dark subject matter with a more melodic, almost comforting hook.

Heaviness soon reasserts itself on 'Possessed', which lives up to its name, before the album’s most unexpected turn arrives. 'Helpless' strips everything back to piano and swathes of cello, a fragile moment that makes the surrounding noise feel even more brutal by contrast.

The closing title track, 'Doll', is the emotional core of the record, a defiant response to a former colleague who once reduced Studente to a belittling nickname. It is not self-pitying but reclaiming.

'Doll' is not a comfortable listen, and that is its strength. Liliths Army are not chasing polish here, they are chasing honesty, and this bruising, visceral record refuses to be ignored.

Ivan De Mello

'Colourful House' finds Zoe Schwarz, Rob Koral and their close-knit band delivering a warmly crafted blend of Blues, Jazz-inflected vocals and Soul-rooted grooves. The record feels natural and unhurried, shaped by musicians who know how to let each song speak for itself while keeping a unified tone.

The opener 'Venus A’int So Far Away' sets the blueprint. Schwarz’s expressive, Jazz-informed phrasing sits comfortably alongside Koral’s wah-soaked guitar work, giving the track a Blues feel touched with Gospel warmth. Hammond organ colours the edges and the occasional hint of Funk brings a lively spark that carries through the album.

'Your Love Hurts' highlights Schwarz’s depth as a vocalist, moving into a cooler, moodier space that gives the song a modern emotional pull. The band keep the arrangement spacious and supportive, allowing the vocal to lead with clarity.

The energy then shifts into a grittier space with 'Hear My Cries', which carries a distinctive echo of Muddy Waters’s 'Still a Fool.' Its earthy pulse introduces a welcome dose of traditional Blues character before the album opens back out into more exploratory moods.

That pivot arrives with 'House of Colours', which softens the atmosphere with Schwarz’s warm, breathy vocal and a gently whimsical lyric. It stands as one of the album’s most inviting moments, demonstrating how naturally the band move between grit and tenderness.

From here the broader influences continue to surface. 'What Can I Do' pushes forward with rhythmic swagger that feels both vintage and fresh. 'Out The Front Door' leans into a funkier seventies groove, while 'Watching the World' contrasts reflective verses with an unexpectedly bright and uplifting chorus. Later in the sequence, 'City of Blues' arrives with a clean and relaxed introduction that subtly recalls the smooth confidence of Dire Straits, underscoring the group’s ease with weaving Blues, Pop and Soul textures together.

Across 'Colourful House', Schwarz, Koral and friends move with assurance between styles while keeping the Blues spirit central. It is a cohesive, warm and quietly adventurous album that rewards repeated listening.

Ivan De Mello

Billed as London's loudest Rock 'n' roll band, The Heat Inc. tear through their debut album like a runaway amplifier. Now expanded to a five-piece, the group deliver 'Asleep at the Ejector Seat' with swagger, pulse and precision, where Post-Punk grit collides with Britpop cool.

Frontman Jon Dodd brings a rich, low baritone that anchors the chaos, especially on 'Souvenir', a more animated opener than OMD's shimmer on their track of the same name. 'Draw Blood for Proof' bursts in with the driving energy of Generation X’s 'Dancing With Myself'; a proper boot-stomper built for sticky floors and late nights.

'Little Knuckle Charlie' channels Kasabian’s 'Empire' bravado, while ’98' fizzes with Buzzcocks-like riffs, the band’s raw energy held in check by Dodd’s steady vocal gravitas.

On 'Ultraviolence' the band abruptly change the tempo and tone, Marco Simoncelli’s guitar weaves tender textures around lyrics nodding to Kubrick’s A Clockwork Orange. Think Stones’ 'Wild Horses' reimagined in dystopian neon; a haunting closer that reveals a cinematic side beneath the volume.

The Heat Inc. might be 'Asleep at the Ejector Seat', but they sound very much awake and firmly in control.

Ivan De Mello

Northampton’s Liliths Army are summoning something wicked with their new single 'Cursed', a brooding, Grunge-soaked anthem steeped in volatile relationships and self-destructive energy. The trio channel the dark allure of Vampyre Heart, blending Lo-Fi Punk grit with malevolent atmospherics that feel tailor-made for the witching season.

Frontwoman Sylvie's vocal is the spell’s centrepiece: sweet and hypnotic at first, then cracking into a rasp that teeters on the unhinged. When she breathes the refrain “You’re within me”, it’s both haunting and addictive, backed by insistent guitars that dig in like claws.

The accompanying video, dropping on Halloween, was filmed in an abandoned armoury in Northamptonshire and promises a feast of old-school horror imagery to match the track’s psychological unease. It’s the perfect soundtrack for long nights, flickering candles and a creeping sense that something’s just behind you.

Released via West London’s Criminal Records, 'Cursed' is a standout moment from the band’s latest album 'Doll' and proof that Liliths Army are fast becoming one of the UK underground’s most compelling dark forces.

Ivan De Mello

Explode the TV’s 'Catching the Rain' EP offers three short tracks of guitar-driven Indie-Rock with clear nods to ’80s New Wave. The opener and title track features pedal-heavy guitar effects alongside a Talking Heads-style disco bassline and a Billie Jean-inspired drumbeat, with a bongo solo in the middle adding an unusual twist.

'1+1=3' comes across as an upbeat take on The Cure’s 'A Forest', though the lyrics hint at a love triangle. Closing track 'Stratosphere' has a similar anthemic feel to previous album 'Unbreakable' highlight 'Naked Eyes', with guitars stretching out and vocals lingering like closing credits.

The EP leans on guitar textures, giving it a retro-tinged yet refreshingly immediate sound. It has an infectious feel, with layered riffs and catchy melodies that linger after listening.

Ivan De Mello

'We Got the Right to Be Free’, the latest offering from Born Healer, is a ten-track journey through soulful Blues, British Rock grit, and an unshakeable groove. It’s an album that tips its hat to tradition while adding fresh colours and surprising turns along the way.

The opener, ‘Buried Alive’, sets the tone with a soulful Blues lament on the pressures of modern life, yet it’s lifted by bright, optimistic guitar riffs that suggest survival and resilience. ‘Worksong’ follows with a grittier drive, powered by a chunky, propulsive rhythm section reminiscent of Free in their prime.

With a Spin Doctors–style intro, ‘Silver Girl’ showcases Helen Turner’s vocal dexterity, giving her space to cut loose before a piercing guitar solo takes over. The mood then shifts with ‘Ticket Outta Here’, a wistful, heartfelt mourning of a break-up.

‘Heartbeat’ finds Turner channelling the spirit of her compatriot Sharleen Spiteri, riding a catchy groove that blends raw Blues guitar with Pop-inflected hooks. ‘Shallow Roots’ loosens the vibe with a Funk-infused swagger, bouncing along with the same cheeky energy as the Happy Mondays’ ‘Kinky Afro’.

Drama builds in ‘Storm’s A’ Comin’’, where pounding drums and an ominous bassline conjure the tension of thunder gathering overhead. It evokes shades of Fleetwood Mac’s ‘Black Magic Woman’. ‘Money & Time’ nods to Pink Floyd’s similarly titled work, before being jolted into life by the squelch of a dirty wah-wah guitar and soulful vocal bursts.

‘Done and Dusted’ storms in as the album’s rowdy, rockier wild child; short, sharp, and full of bite. The closer, ‘Sunset Sucker’, drifts in on sun-bleached chords and a laid-back backbeat, leaving the listener with a warm sense of release.

With ‘We Got the Right to Be Free’, Born Healer deliver an assured, varied, and engaging release. They move effortlessly from heartfelt ballads to swaggering grooves, creating a record that is as emotionally resonant as it is musically satisfying.

Ivan De Mello

Berkshire-based Alternative Pop Rockers Blue Svengalis released their self-titled debut album on Friday 22nd August. The band were initially active between 1996 and 2003, but were revived by founder, leader, composer, guitarist, producer and vocalist Shak Cee in 2020. The album features ten original compositions written and produced by Shak. It was co-produced, recorded and mixed at Tilehouse Studios in Denham by Luke Oldfield. Recruiting top session musicians Joanne Ruocco (drums), Pat Kenneally (keyboards), Claire Frances and Belinda Campbell (vocals) to the existing line-up of Shak, Sasha Titov (bass) and Matt Wates (saxophone), work on the album began in October 2020, and it was recorded incrementally until its completion in July 2025.

Special guests on the album include Luke Oldfield on bass, slide guitar and backing vocals, Alan Glen (formerly of The Yardbirds and Nine Below Zero) on Blues harp/harmonica and Steve Wickham (formerly of The Waterboys) on violin. Recorded almost entirely on analogue tape (and using the studio’s vintage instruments and hardware), overdubs were to complete live takes and involved a minimum of digital manipulation, while the album's vivid audio textures were expertly mastered by Andy LeVien at RMS Studios. The sound of Blue Svengalis is sunny and uplifting featuring catchy and humorous songs about travelling the world, loving music and nature.

Kicking the album off in a suitably affecting style comes the affirmatively assured 'Music Is The One'. A fluently articulated rhythm pattern from drum maestro Joanne Ruocco sets the scene before sprightly Byrds style guitar chords from Shak Cee wash over spreading their jangly joy. Matt Wates sumptuous saxophone interludes galvanise the melodious structure.

'Sailing Away (To A Tropical Island)' is irresistibly tranquil with subtle hints of a Jeff Lynne inspired production to it. The mellifluously dreamy backing vocals and lushly epicurean melodies transport the mind and sooth the soul.

'Rock'n'roll Fan' is a resolutely joyous trip into the all-consuming dedication to Rock! If you know, you know. A frantically frisky guitar solo fits snuggly with the peppy rhythm structure locking in the groove and aligning with the gyrating juncture. Majestically canorous harmony vocals from Claire Frances and Belinda Campbell add much gravitas to the overall arrangement.

The gleefully salubrious 'Mexico' suitably transports the listener to warmer climes. Melodically undulating bass lines snake with purpose creating mystical intrigue, courtesy of Tilehouse Studio's very own producer/musician Luke Oldfield. A delightful song to sit back, relax and float down stream to!

'Start It Again' has a reboundingly bouncy Bo Diddley inspired backbeat which sets the rocking agenda, executed with unbridled fervour by powerhouse drummer Joanne Ruocco. Shimmering Farfisa organ flourishes from the dextrously skilled Pat Kenneally pepper the scene with dazzlingly buoyant colours. Shak's tenaciously strident lead vocals dominate to great effect. A vivacious slice of Ramones tinged Garage Rock.

The autobiographic 'Blue Svengalis' takes us back to the origins of the band. Vociferously feisty vocals repeatedly spell out the title in a jovial high-spirited sing along fashion. Infectious hooks animate the scintillating Buddy Holly inspired chord progression. A change of pace during the bridge section juxtaposes from the insistent Motown sounding backbeat before building back up to reprise the main theme.

The thought provoking 'Farming' slows proceedings down with its dreamy elsyian musings on all things earthly cultivation. Divinely sonorous saxophone from Matt Wates sings expressively. An absorbingly restrained guitar solo from Shak fits the overall vibe incisively.

'Restless Heart Pt. 1' is a delightfully genial Celtic-Country Rock tinged instrumental with charmingly cherubic penny whistle interludes from Rosie Brownhill and radiantly resonant accordion accompaniment from Anton Pazicky.

The slow slinky Blues of 'Bungee Jump' seductively beguiles with its snaking descending hook and howling slide guitar wails. Blindingly blissful harmonica riffs delivered by the legendary Alan Glen (The Yardbirds/Nine Below Zero) sit succinctly in the pocket. Alluringly raunchy vocals from Shak and Claire Frances add much gravitas to the mood.

Concluding the album comes the yearningly potent 'Restless Heart Pt. 2', a Folk-Country Rock flavoured song complete with melodiously mellow vocals and delectably nimble fiddle phrases from ex-Waterboy's violinist Steve Wickham. The perfect tune to sit back and watch the sunset.

There is much to get nostalgic about here, guaranteed to raise your spirits and warm the cockles of your heart. It might have been a long time in the making, but following a positive momentum and unwavered enthusiasm, the album has finally been realised. Without doubt an adeptly accomplished and uplifting musical odyssey.

Steven C. Gilbert

Fronted by the rare and compelling dynamic of mother and daughter, Lee Ainley’s Blues Storm arrives with 'One Bullet Revolver', an EP that reinvigorates the Blues tradition with a distinctly modern sensibility and a powerful feminist edge. This musical powerhouse delivers five original tracks that blend emotion with thoughtful musicianship, eschewing Blues clichés for something fresh, vibrant and entirely their own.

The opener, 'One Bullet Revolver', immediately grabs attention with a guitar tone almost reminiscent of ZZ Top’s buzzy flow, yet the vocals veer away from the typical raspy Blues growl into something mellifluent, lending the track an approachable sophistication. Midway, a simplified Van Halen-esque guitar solo adds a tasteful flair, while a persistent Simple Minds-inspired lick runs subtly through the arrangement, providing a hypnotic thread that ties the song together.

'Going Low', the second track, dips into a rich Americana palette soaked in wah-wah effects, conjuring a sonic landscape that feels both familiar and explorative. It’s a textured, atmospheric number that proves the duo’s versatility and refusal to be confined by genre boundaries.

The album’s sweet centre is 'Beautiful Creature', which begins with Gospel-tinged warmth and soulful vocal delivery, slowly building into a crescendo that bursts into a Lynyrd Skynyrd 'Free Bird' style guitar solo: an ambitious, soaring moment that adds emotional depth and intensity to the record. This cathartic release sets the stage perfectly for the next track.

True to its title, 'Free Woman' channels strident empowerment, carrying the spirit of the EP’s feminist undercurrent with lyrics and a delivery that demand attention and respect. It’s a bold statement both musically and thematically, rounding out the core of the collection.

Closing the EP is 'Little Hands', a track that starts with a hypnotic intro echoing Jimi Hendrix’s 'Voodoo Chile', setting a Psychedelic tone that underpins the mother-daughter vocal interplay. Their harmonies recall a bluesier version of the Andrews Sisters, an unexpected but captivating blend of old-school tightness and contemporary grit. The track also features a meaty 'White Room' era Eric Clapton guitar solo that cements the song’s place as a powerful finale which is equal parts homage and innovation.

'One Bullet Revolver' is a confident and compelling EP that defies expectations. Lee Ainley’s Blues Storm masterfully blends tradition with modernity, creating a fresh voice for the Blues genre that is as much about storytelling and emotion as it is about musical craft. For listeners craving Blues with bite, soul, and a Progressive twist, this EP delivers in spades.

Ivan de Mello

With ‘A Triumphant Return’, their second full-length release, the TR5's have proven that their debut was no happy accident. This is not merely a continuation; it’s an escalation. The record positively struts with confidence, opening with the hip-swaying swagger of ‘Showdown At The Ace Café’, which calls to mind the rebellious charm of Wanda Jackson fronting a particularly sharp house band. It’s a statement of intent, bursting out of the speakers with spit, polish and a wink.

‘Just Like That’ channels Joe Meek via a fuzzy transistor radio, while ‘Until The Dance Is Over’ swaps balladry for urgency. It races along with a breathless tempo and a sense of last-chance romance. Rusty, still the band’s melodic compass, delivers each line like he’s pleading for one final spin across the floor before the lights come up.

They’re never afraid of pastiche, but it’s done with such warmth and wit that you forgive the winks. ‘My Boy Elvis’, originally recorded by Janis Martin, is all bubblegum bop and backstage adoration, while ‘Two Faces Of Love’ trades smoky lounge for cinematic chase. Tremolo-soaked guitars and pulsing rhythms bring to mind a lost mod-era soundtrack, more getaway scene than midnight slow dance.

There’s a sprightly cover of ‘If You’ve Gotta Pick A Baby’, a lesser-known Glenda Collins gem, reimagined here with a cheeky Merseybeat grin. ‘Hypocrite’ leans into pure Rockabilly swagger, all slap bass, snappy snare, and a vocal delivery that spits with controlled menace. It wouldn’t sound out of place crackling from a jukebox in a roadside diner just before a barroom brawl.

Elsewhere, ‘Take Control’ serves up stomping floor-filler energy, full of claps and call-backs. ‘Please Yourself’ brings some tongue-in-cheek Glam swagger, suggesting the band have been rifling through their Slade and Sweet singles when no one was looking.

By the time they arrive at ‘Oh! Darling’, a faithful and torch-lit take on The Beatles’ original, you can feel the whole record beginning to exhale. Then, just when you think they’ve softened, they end with ‘Only Rock ’N’ Roll Will See Us Through’. This is a raucous and defiant closer, part manifesto and part musical Last Will and Testament. It has the feel of a campfire chant after the last night at the end of the pier.

The production is brighter this time round, with more Sun Studio shimmer than garage murk. Yet the rough edges are wisely left intact.

‘A Triumphant Return’ is exactly that. It’s a raucous, reverent and rollicking ride through the golden age of Pop, served with enough charm and craft to make even the most jaded modernist crack a smile.

Ivan De Mello