Gentle Giant once again pushing the limits of progressive rock. Absolutely mindblowing compostition with the same modern-meets-baroque instrumentation that first drew me to them a few years ago now.

Ultimately, Courting's third album is a mixed bag. At its best, it's catchy, danceable, and fit for Indie clubs up and down the UK. At its worst, it's dull and forgettable with production choices that really don't fit the songs.

That paired with the fact that it's far too short, leave the album without much staying power.

I would love to hear this album again with some slacker rock production, because the songwriting, whilst fairly basic, is actually really good, but the production really takes me out of the album. The vocals are so overclean, and there are some really noticable autotune artifacts here and there that really hurt the experience.

A very solid debut album, with a nice alt rock vibe with some indie, punk and grunge elements thrown in. There's definitely handful of middling tracks here, but overall, it was a very fun listen.

It's really annoying, because the songs are pretty damn good, but the mix sucks so fucking much. Clean vocals feel overly clean, the guitars are muddy and disappear as soon as the vocals come in, and the mastering engineer must have a choking fetish with how compressed everything is. Honestly, I had ear ache by the end of the album.

An incredible debut EP. It's very obvious this band have their routes in the Windmill scene. If you're a fan of bands like Black Midi, Squid, and Maruja, these guys and gal are definitely worth checking out. My only real critique is the mix in the clean areas which feels a little muddy and a little dull.

I've always been a fan of Iron Maiden, but aside from the first couple of Dickinson-era albums, I never ventured much beyond their singles. This album proves that was a mistake—what an incredible record! "Seventh Son of a Seventh Son" showcases Maiden at their peak, delivering synth-tinged heavy metal at its finest. The proggier sections are nothing short of epic.

Absolutely insane that this came out in 1982. Amazing songwriting and out of this world in terms of production.

"Blue Rev" sees Alvvays take on a raunchier and noisier sound than in previous projects, with some more shoegaze—almost Blonde Redhead-esque—elements thrown in for good measure. It's not as poppy as before, with a more experimental edge, so don't expect as many earworms, but it's still a very high-quality release.

Amazing vocals, varied and sometimes experimental production. Not much else to say, it's just really good.

Yes.

Honestly a pretty decent EP. Features were good, F*Me in particular slapped, and whilst the first couple songs were only okay, it was an enjoyable way to spend 15 minutes.

"Luminescent Creatures" should be recommended by therapists to help people find their inner peace. Even while listening during my daily bus commute home, I've rarely felt more zen. The vocals are genuinely angelic, and all the instrumentation—from lush pads to light and beautiful keys, strings, and guitars—is played with utter beauty. This is truly a breathtaking album

If you could make the concept of nostalgic happiness into an album, it would be this.

Definitely one for fans of Windmill Scene with some big Black Midi/Squid influences here for sure. As an instrumental album, there are a few moments where I wished for some vocal content in the style of Greep or Ollie Judge, but mostly, the instrumental are enough to keep this interesting. Overall, whilst not mindblowing, this is an incredibly solid debut.

A somewhat similar vibe to their previous album, though I would say not quite as strong. That's not to say it's bad. As always, the lyrical content is there, and the guitar work is generally good. However, there are a couple of songs, especially at the start of the album and the last track, that feel a bit safe. Still, it's an enjoyable listen with a handful of standout tracks, such as 'Born Into the Fight,' 'The Fall,' and 'Swallow.'

Rebecca Black's second album/third EP is a little too short for its own good, because it's filled with well-produced and written songs from front to back, and then it's just over. I'd love to hear something a bit more fleshed out and pushing the boundaries a little more.

Absolutely amazing smooth soul with some beautiful jazz and R&B elements thrown in for good measure. I'm not familiar with Kelela as an artist, but this was an absolutely breathtaking introduction. The accompanying instrumentation was amazing too, with the harp and fretless bass being true standouts. The vibes created are captivating.

Quality songwriting, with gorgeous guitar work, beautiful vocals and lyrics, and beautiful, simplistic production.

The final EP in this 3-year trilogy, "Tir na nÓg" sees Marjua really show their competency in improvisation, with a 22-minute piece filled with reverby horns and guitars, and driving drums that really hold the performance together. It's a superb way to end this incredible run of EPs and it makes me even more excited to see what they have for us next.