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Review: Given that they started their ascent to EDM superstardom over a decade ago and have already released a string of genuine crossover anthems, this debut album from Camelphat is undeniably overdue. So, was it worth waiting for? If you like their brand of festival-friendly dance music hedonism, then you will genuinely love it. The assembled 21 tracks scattered across three action-packed slabs of wax draw influence from many interconnected styles - mostly electro-house, tech-house and techno, but also indie-dance, synth-pop, nu-disco and more bass-heavy flavours - and repackage them as distinctively Camelphat style productions, complete with contributions from numerous collaborators and guest vocalists (Noel Gallagher, Skream, Jake Bugg, Yannis Foals, Jem Cooke and Christoph all feature).

Review: The ever-controversial but always good value Miley Cyrus serves up her seventh studio album including already big tunes like 'Midnight Sky' and 'Prisoner' featuring Dua Lipa. The record was started two years ago and was all figured out and finished, but then got deleted. Cyrus skas that not only was th emu gone, but the whole relevance of it given how much changed in her life since the record was started. As such she wrote a whole new collection of tunes that are now presented here. Soft rock and pop, ballads and harder tunes, big arena anthems and power-riffs all feature.

Review: Grammy Award-nominated songstress and musician Noah Cyrus has already had many of her singles go multi-platinum. Now she follows up the good early work with a debut album that will likely follow suit. Production is taken care of by the esteemed Mike Crossey who has worked with Arctic Monkeys. There is plenty of pedal steel and slide guitar here which lends the album a mix of country, pop and the soul of her Nashville roots. It's a lush sound with plenty of catchy hooks and well-written verses.

Review: YES! Any self respecting music fan will no doubt already have fully acquainted themselves with Black Messiah, the long promised new album from soul artist D'Angelo and know that it already stands as one of the long players of the year if not the decade! The real fans have probably been waiting for the vinyl release and it's great to see the correct decision has been made to grant Black Messiah a double LP pressing. Everyone no doubt has their favourites on Black Messiah but it's great to have cuts like "Sugah Daddy" on wax, that one is perfect for the house party situations.

Review: Now firmly in "pop icon" territory after a 15-year career full of successes and commercial highs, Paloma Faith has earned the opportunity to do whatever the hell she likes musically. So, on her sixth album and first for four years, she delivers a set of deeply personal, often stirring pop songs whose lyrics form a narrative of coming back from messy relationship build-ups. Beginning with the Chase & Status produced 'Pressure' featuring Kojey Radical - a sub-heavy slab of punchy post hip-hop heaviness - Faith and lead producer Martin Wave confidently stride between empowering acoustic-meets-electronic dance-pop ('How You Leave a Man'), gospel-influenced anthems-in-the-making ('Bad Woman') and the kind of emphatic electronic pop that the artist has always done so well.

Review: The famously fun loving and colourful pop queen Paloma Faith shows a whole new life with her latest album The Glorification Of Sadness. As the title suggests, it is a captivating exploration of melancholy transformed into artistry with her signature soulful vocals and emotive delivery from and centre. They find Faith navigate themes of heartbreak and resilience with raw honesty and theatrical flair as each track unfurls like a cinematic journey adorned with lush orchestration and poignant lyricism. It's an album of bittersweet beauty. From the haunting to the empowering, always with a poignant narrative that celebrates the complexities of human emotion.

Review: If there's one thing you can count on Jean Michel Jarre for, it's testing the limits of technology and seeing where he can take things further. The Oxygene synth wizard is back at it with a revolutionary new record which seeks to offer his fans a sonic experience like they've never had before. Oxymore has been recorded as a multi-channel, 3D binaural album, and while that might sound a bit vague for the uninitiated, the idea is that it gives the producers and engineers greater control over placing sounds within a three-dimensional, or even 360 degree space. Anyone listening on headphones will be able to experience this new revelation in sound design and hear it for themselves.

Review: Second time around for Jean-Michel Jarre's 2022 album Oxymore, a loving tribute to French composer and 'music concrete' pioneer Pierre Henry. As the title suggests, this version features new remixes of album tracks (all of which feature sounds originally created by Henry) by a disparate group of musical talents. That makes for an interesting mix of interpretations, with armin Van Buuren's sizable trance translation of 'Epica' rubbing shoulders with a trippy, off-kilter electro take on 'Sex In The Machine' by Nina Kraviz, a moody Martin Gore interpretation of 'Brutalism', Irene Dresel's raw techno revision of 'Zeitgeist Botanica', and ambient pioneer Brian Eno putting his spin on 'Epica'.

Review: He might be in the autumn of his career but Jean Michel Jarre remains an innovator in the field of electronic music. His last album in 2022, Oxymore, was another pioneering exploration of rhythm and sound that has now been reworked alongside a series of collaborators all picked by the man himself. The nine-track selection brings wholly new perspectives to the originals which he calls "a vibrant collection of musical dialogues." An immediate standout for us is the track with Nina Kraviz which is crunchy, distorted minimal techno, while 'Epica Extension' with Brian Eno is laced up with otherworldly melodies. A great work from a mix of great artists.

Review: Six time Grammy-nominated R&B icon Lucky Daye is back with new album Candydrip and it is yet another high watermark in a career full of them. This latest record was produced by longtime collaborator D'Mile and is a hybrid sound that manages to sound new and future as well as paying heed to the gene's rich tradition. The forlorn vocal manipulation lends the record that feeling of pain which defines so much good R&B and lyrical themes explore stardom next to plenty of impossibly catchy earworm melodies and slick beats.

Review: English rock band Nothing But Thieves are now just over a decade into their career but Dead Club City is already their fourth album. It has been preceded by the lead single 'Welcome to the DCC', a punchy and confident track that embodies the album's energy. The lyrics are sonically on point and show the band has managed to adapt and evolve as they head into this new creative chapter. Their sound might be rooted in rock, then, but they draw on experimental funk and 80's influences with bright synths and soaring choruses that bring inescapable tension.

Review: 1972 was a pivotal year for The King. Having spent a good deal of the previous decade growing increasing focused on movies - or perhaps more accurately, getting lost in a relentless filming schedule foisted upon him - he'd reached psychological lows towards the end of the 1960s, but then re-emerged more in control of his own career decisions and re-energised, with the famous Comeback Special a major catalyst.
Three years later he hit the road for a mammoth 15 city spring tour which would spawn its own movie (aptly titled, Elvis On Tour), and set the scene for the following year's live flick follow up, Aloha From Hawaii Special. The performances proved the fact that He Had Returned, bigger and bolder than ever, as evidenced through this collection of recordings from those 1972 rehearsals.