Buzz Magazine
What's On in Wales - Your Ultimate Guide
GWAR frontman The Berserker Blóthar tells us: “This is the greatest rock record of all time. These are the songs for a new age, a New Dark Age, when men live by the dimming light of technology destined to betray them.”
Ural Thomas has graced the same stages as James Brown and Otis Redding, and on Dancing Dimensions, still has a voice to match those two icons.
Horsegirl have managed to encapsulate their overlapping, likeminded styles and friendship into a carefully crafted postpunk debut, Versions of Modern Performance.
Cave and Ellis' La Panthère Des Neiges soundtrack deserves to resonate for many years to come, the same way as Ry Cooder’s music for Paris, Texas or even Vangelis’ Blade Runner.
With Nothing To Declare, 700 Bliss have made something musically and politically radical, and some fine craic to boot.
The wife and creative partner of Suicide's Alan Vega, Keep It Alive, Liz Lamere’s debut, has a dark, infectious electro/industrial groove running through it.
Claudio Sanchez, the frontman of Coheed & Cambria, has a knack for shrouding personal stories behind ambitious science fiction concepts. New album Vaxis II is no different.
Liam Gallagher returns with his third solo album, and he’s getting better and better as time goes on. His first two solo albums combined don’t come close to C’mon You Know.
Production duo Subjective, made up of Goldie and James Davidson, weaves in various soulful musicians on their second collaborative album.
Malicious Intent is a giant of an album and represents a massive step on the upward curve that Malevolence find themselves on.
Florence + The Machine have done well to lambast themselves without losing any of their apparently genuine uniqueness on Dance Fever.
How does one revolutionise modern pop music? This was something Everything Everything wanted to combat on Raw Data Feel, their sixth studio album, after 2020’s songwriting-focused Re-Animator.
Alison Cotton's fourth solo album The Portrait You Painted Of Me is a strange, foreboding record, entrancing and unsettling in equal measure.
The inclusion alone of Kitty Wells’ I’ve Got A New Heartache and Patsy Cline’s A Church, A Courtroom And Then Goodbye make this compilation essential.
After the fantastic opener Dangerous, which pokes fun at Morrison’s status as the pot-stirring, sneering cynic, the rest of the new album is obsessed with lying politicians and a brainwashed nation.
Heafy’s love of black metal, Japanese culture as well as a personal glimpse into his own American/Japanese heritage are all brought together with a passion that goes further than a mere side project.
Like his first two albums, Duncan recorded and produced Alluvium at home, and reaches new heights with this lush kaleidoscope blend of electronic, dream and chamber-ish pop.
Although third LP Headful of Sugar is more consistent than previous releases, Sunflower Bean's quality control still needs adjustment.
The latest artist to feature in the Fabric Presents mix series is Teisha Matthews aka TSHA: a London-based, Ninja Tune-signed DJ and producer.
Patrick Watson has created another beautifully crafted album that pushes his soft piano, light vocal, ambient electronic style further to the leftfield.
A group of four musically gifted individuals, Back From The Dead confirms Lzzy Hale as one of the best female vocalists currently active.
This is Belle and Sebastian's’ first album to be recorded in Glasgow in more than two decades, and they’ve evolved into a slicker outfit over time.
What the hell has happened with the world? That’s what Soft Cell ask with their fifth album, *Happiness Not Included.
Swedish black metal band Watain are back with new album The Agony & Ecstasy Of Watain, which while solid, never quite crosses from good to great.
