The Brighton debut's follow-up to their much-lauded debut is an excruciatingly safe sequel.
Kasabian's desperately poor 6th album suggests that the band's well of inspiration appears to have ran dry some time ago.
The Chainsmokers are irritants who make astonishingly dull music.
In the year of GoldenEye 007's 20th anniversary, Alex Kresovich's rap-flavoured assault on its soundtrack remains as bizarre and charming as it did in 2010.
Run The Jewels continue to be Run The Jewels.
Injury Reserve bait a wider audience with their stellar sophomore release.
Busted's long-awaited comeback marks a change in musical direction, but not necessarily a downturn in appeal.
Danny Brown's third full-length release is the darkest catalogue of his self-destructive lifestyle he's created thus far - it may also be his best.
On their ruinous fourth release, Twin Atlantic dare you to question if 'Vivarium' and 'Free' were actually just happy accidents.
Roosevelt's eponymous debut full-length is a summery tour through the anthologies of dance music.
Catfish and the Bottlemen rush out a limp and wholly derivative sophomore release.
Weezer finally make great music, once more.
The biggest male artist on the planet brings his appropiately bombastic live show to the Hydro.
Well over 4 decades into their career, The Stranglers live show is still not to be missed.
Death Grips brought their trademark sensory assault to Glasgow's SWG3 TV Studio.
Columns & Features
In the week of the release of his debut collection of short stories, Springboig-born writer Chris McQueer spoke to The Strathclyde Telegraph.
That infamous Kanye heckler should have directed his ire at Spotify rather than TIDAL.
Secret album releases are great. Here's why.
The recent summit between Culture MP's and artists must be the catalyst to recovering the bastardised secondary ticketing market.