On its first release, ‘Generation Terrorists’ was issued in a fanfare of slogans and rants concerning social, political and cultural issues, but more notably for the pronouncement that the band would disband after this debut album. Thankfully, the Manic Street Preachers decided to stay the course and the rest is history. This time around, ‘Generation Terrorists’ has arrived under a fanfare that is more attuned to pipe and slippers than the previous angry incarnation. However, for those who missed out on this timely release during the early nineties, then there is much to delight in here, whether it’s the rifftastic ‘Motorcycle Emptiness’ or the epic finale, ‘Condemned To Rock ‘n’ Roll’, ‘Generation Terrorists’ still manages to evoke levels of passion not found in many of the band’s contemporaries.

If I had to define melancholy, then I would have to say The Blue Nile’s ‘Hats’. Perfection exemplified in a variety of ways, ‘Hats’ was the long-awaited follow-up to ‘A Walk Across The Rooftops’, which is also receiving the reissue treatment, as the band truly delivered their masterpiece. As far as late-night albums go, ‘Hats’ is the only one you’ll ever need as it’s true, happiness can be found in sadness because despite the despondency often heard throughout this body of work (look no further than ‘Let’s Go Out Tonight’ or ‘From A Late Night Train’) there is something gorgeously wonderful about the downbeat tone being expressed here, rendering this release as simply essential.

The rise of Taylor Swift’s mercurial star continues to ascend and rightly so with this truly compelling release. ‘Red’ is the kind of album which throws out its pop (yes, pop) hooks from the off and instantaneously grabs the listener by the ears in a quite seductive spell. Despite some remnants of a country sound (‘All Too Well’ ‘I Knew You Were Trouble’), Taylor Swift has gambled with a (near complete) change in musical direction and it’s paying dividends as the opening indie-sounding ‘State Of Grace’ and radio-friendly ‘22’ testify. The supremely addictive ‘We Are Never Ever Getting Back Together’ solidifies further  this new found direction as does the intriguing choice of duet with Snow Patrol’s Gary Lightbody on ‘The Last Time’. Without wishing Taylor Swift to completely ditch her country roots, one cannot help but feel genuinely moved by this change in direction, whilst not entirely original, as ‘Red’ is proving many doubters wrong.

Being on the road for any band can have its drawbacks, especially if you’re Big Boy Bloater. Clearly attesting to such difficulties is the feverish cocktail ‘Leonard Cohen’, as it conjures up a set of memories best forgotten of a tour from the depths of hell itself with only a ‘cheerful’ reminder of Mr Melancholy swinging into focus every now and then. Shimmering next into view is the precarious emotions of ‘Lifetime Money Back Guarantee’ followed by the superb yet longing ‘I Can’t Forget About You’. Clearing out the cupboards further is ‘Stop Dragging Me Back’ casting reflection on a musical past with a firm desire to leave it there. The instrumental ‘Black Sambuca’ showcases Bloater’s guitar wizardry, whereas ‘Insanely Happy’ is a double-edged sword of admission yet brings a twisted smile to the face nonetheless.

At times tearstained, and on other occasions irritated by certain constraints, ‘The World Explained’ is an honest and darkly humorous take on life’s predicaments.

There is an authentic rockin’ rockabilly sound and it’s coming like a steamin’ freight train straight outta Sheffield in the shape of ‘Misfits’, the second long player from The Slingshots. Leading the line, but failing to conform, is nearly title track ‘Misfit’ with lyrics Morrissey would certainly identify with, and been proud of, had he pursued the rockabilly route. As it stands, leading man Steve Russell is doing an admiral job of rustling up an astute lyric or two with the acerbic in yer face abruptness of, ‘I Quit’ with its all chugging bass and guitars steering the song to its inevitable conclusion. Elsewhere the band offer tearjerker ‘Couldn’t Get Along’ and blues-influenced ‘If You Left Me’ reflecting the paranoid state of the central protagonist to great effect with a backdrop of howling harmonica and slightly distorted vocal.

As the album draws to a close with a sweeping back the years ‘Butterball Boogie’, full of country strings and foot tapping beat, and a double Western inspired outing via ‘Lonesome Trail’ and ‘Green-Eyed Monster’, The Slingshots have made a comeback of staggering proportions. Long live these Sheffield misfits.

Eve Selis has really pulled out the trump card with ‘Family Tree’ as it is an album full of intimacy and rich in consistency. The gritty power of opener, ‘Power and Glue’ really states its intentions, and nicely succeeded with ‘Any Day’, which would grace any radio station’s playlist as it has ‘Hit’ single written all over it. The straight up country jaunt of, ‘When Is Everything Enough’ is a topical reminder of the current financial predicament told through the eyes of a love song. But it is the title track itself which really stirs emotionally, as it is a lump in the throat realisation of separation when the empty nest syndrome becomes a reality. It would seem that Eve Selis is at the peak of her powers as ‘Family Tree’ deserves to be a lasting success.