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Review: It's 13 years since Sparklehorse's Mark Linkous died suddenly, leaving behind a glittering legacy in indie rock and a shocked, devoted fan base. As it transpires, he had nearly completed his fifth album when he took his own life, and was in fact midway through recording with Steve Albini at Static King at the time. Now his brother and sister-in-law have finally found the right way to honour his legacy and bring this nearly-lost album to light in the most respectful way possible. For those who have been missing Linkous' unique, resplendent songwriting in the years since his passing, this is an unexpected and sure-to-be-treasured treat.

Review: If you thought Moor Mother's 2021 album Black Encyclopaedia of the Air was good - and it was a genuine triumph - wait until you hear this follow-up. In summary, Jazz Codes takes her impossible-to-pigeonhole personal style - a mixture of smoky trip-hop beats, heady ambient sounds, jazz instrumentation, thickset aural textures, crackly samples, soul vocals, spoken word monologues and trippy effects aplenty - and takes it to the next level. While the album features a dizzying array of guest vocalists and musicians (a complete list of which would run to several pages of A4), it never sounds like anything other than a Moor Mother album. It's her widescreen Afro-futurist vision, executed to perfection. Don't sleep!

Review: Fleet Foxes & Resistance Revival Chorus performed 'Can I Believe You' on The Late Show with Stephen Colbert before this two-track release made its way to us. If that sounds like a pretty cheap way to record a single fear not, the pre-recorded footage juxtaposed the band's frontman, Robin Pecknold, singing alone with the clips of him and full band, joined by the Chorus, in St. Ann and the Holy Trinity Church, Brooklyn, New York. And it's the latter segments that have made their way onto this release.

As you can imagine, then, there's a very full sound at play here, with the title number growing into a grand piece of rolling, anthem folk indie. By comparison, 'Wading In Waist-High Water' brings the focus onto the Chorus rather than the group and removes the traditional chart structure, leaving us with a beautiful choir piece that's the strongest of the pair here.