As first impressions go, don’t be dissuaded by the artwork because Old Soul muster up a guitar fest that is as epic as it is dense. Despite being only four songs in length, the opening sprawl of ‘Ethereal Faultless’ is a perfect example of this grand vision as it stretches for little over ten minutes. With ‘Tidal Lock’ being Old Soul’s third output, clearly the Michigan band has progressed their sound considerably as there is a painstaking attention to detail as second in line ‘Ghost Incomplete’ is full of claustrophobic rage before fizzing out into obscurity. The complex structure of ‘Paradigm Pendulum’ is awe-inspiring in its audaciousness, and the final declaration of ‘Watermouth Mirage’ burns out in a raging intensity leaving one to ponder the merits of ‘Tidal Lock’ and the realisation that they will take some beating.

Title track and opening up the front door to Rudimental’s debut ‘Home’ starts proceedings sublimely as it meanders at mid-tempo with a constant wary glance over the shoulder which is in stark contrast to the explosive drum & bass and soulful vocals of former UK No. 1 single ‘Feel The Love’. This London-based collective have truly ploughed their own furrow musically by years spent in dancehalls (not that type), listening to pirate radio, improvised DJ set ups as well as sourcing material from older siblings who had that advantage of age on their side in terms of arriving at the sounds first. Of course London’s urban surroundings has also provided inspiration – ‘Hell Could Freeze’ reflective of this with its mix of sweet vocals that now and again rub up against a more abrasive surface. With various artists offering their services – Emeli Sande weighs in with the brooding ‘More Than Anything’ and closing ‘Free’ – Rudimental’s ‘Home’ brings to mind Massive Attack’s seminal ‘Blue Lines’, due to the level of collaborations, and in the process reviving a much-missed concept.

There’s an eclectic mix of ska, punk, funk, and new wave brewing in the West Country and hails under the banner of The Refusal. Having been peddling their wares since 2008 and doing rather well on the live scene, the narratives making up ‘Tales of Space Travel & Revenge’ are as eclectic as the very influences driving them. This broad appeal, however, is where The Refusal’s space travel becomes a little fuddled on occasions such as the ‘shall we pursue the rock route’ of ‘Maybe This Time’ or more straight ska of ‘Cynic’ as the album in its entirety would benefit from a more restrained approach. Such gripes aside, there are moments were these fusions of sounds genuinely work with the detailed layers of ‘Theme From Project X’ to the life unravelling ‘The Seams’ and reflective ‘Miles’ revealing a band with considerable experience. Unfortunately, such good work is quickly undone due to the aforementioned lapses in direction as ‘No Way’ clearly reminds the listener of why this album falls slightly short.

Feeling a little weary at the prospect of reviewing a Paramore album due to a deluge of similar sounding bands spilling forth out of the states, their fourth album to date is nothing but a welcome relief judging by initial impressions. After agreeing to continue as a three piece due to various reasons and without doubt hinted at in the slightly quirky ‘Moving On’ with its ‘Well I could be angry but you’re not worth the fight’, this Nashville-based band has produced a string of hook-laden tracks that compel from the off. It is the – and dare I say it – maturity in the songwriting which really comes to the fore here, and in the process creating a succession of standout songs such as the climax building ‘Daydreaming’; aptly titled and lovely pop feel of ‘Grow Up’; ‘Ain’t It Fun’ with its choir interlude to more familiar territory with ‘Part II’. On this current form, Paramore is the perfect example of a band, if given enough time, steadily working towards their creative peak. Bearing this in mind, album number five promises to be something special.

Opening in a bloodcurdling assault of vocals underscored with a sonic groove, Bloody Mammals is that sort of post-hardcore band that doesn’t make you want to reach for the off button because they actually incorporate various elements into their music that suggests scope for longevity. The ghost of Fugazi certainly makes its presence felt especially with the excellent ‘Tie Down Team’ and the gear shifting ‘Long Song’ that gradually creeps towards its conclusion in a mesh of drums and guitars. With the EP’s lyrics purporting to a cursed neighbourhood relayed through a number of different perspectives, it is not only the wild and aggressive yet melodic strands running through these songs that captivate but the imaginative yarns that lift Bloody Mammals above the pack.

It is incredible to think that They Might Be Giants have been walking this Earth since 1982 taking in along the way smash hit single ‘Birdhouse In Your Soul’ and platinum album ‘Flood’ before seemingly disappearing once more into eternal obscurity. Silence has been broken, however, as the band return with their 16^th studio album of yet more unusual and quirky tales and catchy choruses this time involving everything from Nanobots to a circular karate chop (I can’t help but grin widely – FLW).

They Might Be Giants absence is duly noted by the band with a knowing wink during the opening fanfare of, ‘Hi! I forgot your name, whatever’ before launching into a tale concerning combustible heads the kind, ‘I read an article all about them’ and then succeeded by the instantly infectious (what else do you expect?!) title track ‘Nanobots’ with its lovely dual-vocal opening.

There is much to take in here, as the shady mutterings of ‘Black Ops’ leaves much to ponder about, as do the songs ‘Decision Maker’ and ‘Tick’ due to their brief appearances; springing to mind the short eccentricities littered throughout the Fatima Mansions’ ‘Viva Dead Ponies’ but minus the robust intensity. ‘Sometimes A Lonely Way’ is proof that They Might be Giants can also play it straight and offers further evidence that on current form contract negotiations for album number 17 should not be too far away.