Back catalogue: Psych/Garage Rock

Review: It's hard to side with anyone that goes in hard on enigmatic epic metallers King Gizzard & The Lizard Wizard. When a band releases 24 studio albums you know they're sure of themselves and cult followers are almost guaranteed to support every release. When those releases come with names like PetroDragonic Apocalypse; or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation you also know the band don't really care for people who take things too seriously. There's always been an interesting juxtaposition between the Gizzard's tongue in cheek persona - even the band name smacks of wry humour - and the music itself, though, and this outing is no different. Sprawling guitar-fuelled arrangements that owe as much to post punk as psychedelic and prog reign supreme, making for another powerhouse outing you can love or feel indifferent towards, but never legitimately hate.

Review: RECOMMENDED
There's always been an air of mystery about The The. Look through the band's history, which stretches wayyyyy back to the late-1970s, and the list of collaborators alone is enough to convince you they've been making moves in the right places for many, many years, striving to innovate and carve out their own space in the unarguably busy post punk landscape.

Everything Matt Johnson touches seems to turn to gold. Albeit a particularly scuzzy gold that exists solely in the darkest rooms of the least kept venues. Even on this accolade - a group getting a spot at The Royal Albert Hall is no mean feat - there's a sense of yellow-hued street lights and rain falling on concrete. But this is combined with a poetic element that's up there with the finest literary Romantics, and a commentary that will tell you all there is to tell.

Review: There's a lot going on here, and a lot of pure goodness at that. Fans of the Soul Jazz imprint rarely shut up about the label's output quality, and this latest LP from Trees Speak - their second to date - is a case in point. A record that sounds as though it was raised on some of the finest outsider music from the 1960s, 70s and 80s, the whole thing is saturated in pop references but doesn't come across forced or lazy.

You don't have to listen hard to hear the kind of proto-electro and Krautrock that came from the likes of Can, Popul Vuh and Neu!, John Carpenter's movie scores or traits of the No Wave movement that took subterranean New York by storm a few decades ago. Stylistically, the result is a sonic place that has as much attitude as it does edge, equal parts grit and groove, funk and rock, soul and sleaze.

Review: Much contemporary and so-called cosmic American music lacks true cosmic essence, appearing more as imitation than innovation. Trummors' fifth album, 5, defies this norm with refreshing originality and exquisite execution. With lyrics akin to Robert Creeley's poetry and melodies that feel timeless, songs like 'Hey Babe' captivate with fatalistic beauty. Lerner and Cunningham's harmonies, complemented by skilled musicianship, create a captivating atmosphere and subtly blend genre conventions. Despite its rapid creation amidst uncertainty, 5 exudes both weight and airiness, ancient resonance and contemporary charm. Trummors' achievement in transcending tradition with confidence and immediacy is truly remarkable.