AC/DC have been through the proverbial ringer since their last album in 2014, Rock Or Bust.

Dementia forced rhythm guitarist Malcolm Young to retire shortly before his death in 2017, while singer Brian Johnson stepped down mid-tour due to chronic hearing problems.

But you wouldn't know listening to Power Up, which sits among the Aussie rocker's best albums since their 70s and 80s pomp.

The album, their 17th, reunites the remaining members of the classic line-up: lead guitarist Angus Young, singer Johnson, drummer Phil Rudd and bassist Cliff Williams, plus recent addition Stevie Young on rhythm guitar.

It is a powerful tribute to Malcolm Young, one that proves it is possible keeping rocking into old age - all the band are in their 60s or 70s.

On album opener, Realise, it takes little over half a minute before Angus Young's power chords cut through the mist.

Johnson - back in the band after receiving experimental hearing treatment - delivers his trademark howl before the band begin a 12-song assault on the senses.

Lead single Shot In The Dark delivers unabashed positivity, while Mists Of Time sounds like an amped up 80s power ballad.

Malcolm Young would likely be proud.

(Review by Alex Green)


With their latest album, Confetti, comes evidence of Little Mix's ability to turn their hand to anything and still hit the mark.

A kaleidoscope of different genres, there's 80s power pop in Break Up Song, the girls come together on the heartfelt ballad My Love Won't Let You Down, they attack R&B in the sure-fire hit Sweet Melody, and prove they're staying relevant with the British grime-tinged bop Happiness.

With a range of emotions, from the sexy Nothing But My Feelings, to the powerful and rousing Gloves Up, and the dreamy, romantic Holiday, there's something for everyone and relevance to every situation - be it love, heartbreak, loss or winning.

Neatly tied together with feel good vibes, there's moments of weakness and vulnerability, which is endearing and empowering.

Long gone are the days of girl groups being token tween pop acts, Little Mix have substance and style, while also having the special touch of each member being able to sing just as strongly alone as they can harmonise as a group.

Stand aside Spice Girls, Little Mix may well just be the greatest British girl band of all time.

(Review by Sophie Goodall)


Over the past few years, The Cribs have laid wait in the US while facing a period of musical inactivity.

Having departed the UK for pastures new and warmer, plenty of spare time in their current surroundings seems to have transcended into their musicianship.

While the classic lo-fi trademark of The Cribs is ever present, they've shed their gritty Britishness, as Night Network, hailed their best album yet, brings into view some great American influences.

There's still a nod to the Strokes' brand of indie, there's surf rock that wouldn't sound out of place on a Pixies album, and the lush nostalgia of The Ramones is apparent.

It might be surprising that they've waved goodbye to their energetic, raw punk style, and that the band's rough edges have been buffed over until they're completely mellowed out, but the Beach Boys-esque hazy sunshine sound is a pleasant, warming surprise, as are the rich and smooth guitar hooks that overlay the tracks, without completely losing their low-fi tone.

It's a nice, new direction for the band, and shows it's possible to step into a new genre without losing who you are.

(Review by Sophie Goodall)


Paloma Faith's fifth studio album shows the singer at her emotional, dramatic best in tracks like the first single Better Than This.

If Loving You Was Easy is another warts-and-all portrayal of the ups and downs of a relationship, while If This Is Goodbye is a song dripping with raw emotion.

The upbeat opening track Supernatural feels a bit like it could be sung by anyone, but Faith quickly puts her unique stamp on the album's sound with the pacey attitude-packed second track, Monster, and the second single, Gold.

Me Time will strike a note with many, especially fellow parents who long for five minutes of peace.

Infinite Things offers plenty of contrast with some tracks ideal to get you dancing - even if only in your kitchen during lockdown - while others would make a great tear-stained singalong.

Like the emotional closing track, Last Night On Earth, it's the type of album which gets better with every listen.

(Review by Beverley Rouse)


Last autumn, Lambchop frontman Kurt Wagner chose not to go on a tour that would probably lose money, inviting the band members to Nashville to record a record to provide them with similar financial support.

Each chose one song and led its recording session, and so instead of a tour that would have been cancelled by the Covid-19 pandemic anyway, there are six new tracks to delight fans.

TRIP is only 38 minutes long, with a third made up of opener Reservations, from Wilco's Yankee Hotel Foxtrot, slowing down the already stately original and stretching it to 13 minutes.

It's the perfect vehicle for Wagner's anguished voice, crooning "I've got reservations about so many things, but not about you", accompanied by minimal keyboards-led backing.

Where Grass Won't Grow, best known in the George Jones version, showcases the band's country roots, with pedal steel guitar driving the mournful tale of hard luck and redemption.

Shirley from cult early 70s Ohio band Mirrors is reinterpreted from the proto-New Wave of the original as a trademark Lambchop murder ballad.

The next two tracks highlight Lambchop's soul side, a melancholy take on Stevie Wonder's joyful Golden Lady, from Innervisions, and a lounge music version of Love Is Here And Now You're

Gone, inspired by Michael Jackson's cover rather than the Supremes original.

Wagner's choice is haunting final track Weather Blues by Yo La Tengo bassist James McNew, a fragile beauty that hasn't been released elsewhere.

Lambchop always deliver live, but the prescient decision to record TRIP instead of touring has resulted in an album that sums up their influences and adds to their legacy.

(Review by Matthew George)