Given the mainstream media's recent (adoring) rumblings about 'Puberty 2', you could perhaps be forgiven for presuming that the album was her debut release, but it's actually the fourth in a line of outstanding slices of glistening eclecticism to spill forth from 26-year-old Mitski Miyawaki. It fully kicks down the door nudged open by 2014's 'Bury Me at Makeout Creek'.
In May of this year, From The Jam returned to the road. Around that time, Bruce Foxton also unleashed 'Smash The Clock', only his third solo album in the course of a forty year recording career. The shows themselves were triumphant affairs that showcased almost half-a-century of Britain's most vital musical offerings.
It's been over three years since Grouplove unleashed 'Spreading Rumours', their second album and the follow-up to the much-loved 'Never Trust A Happy Song', but as they bound onstage to a pop-rock-crunk hybrid, you wouldn't think they'd been away at all. Their third album 'Big Mess' has turned a new generation of fans onto their frantic indie pop.
Last week, Milburn kicked off their first full tour in eight years. Starting in Portsmouth and rolling across a further ten dates, the tour comes alongside the bands first new music in the best part of a decade. 'Midnight Control' and 'Forming of a Fate' both retain enough of the classic sound to please the faithful, but with enough of a twist to open the door to a new generation.
Wit the exception of a one-off London headline offering, it's been a while since Grouplove graced our shores. Now, armed with third album 'Big Mess', the band are back for a pair of dates in Manchester and back in the capital. Having formed in Manhattan in 2009,the five piece are relative veterans in the game by now and its onstage where things really come to life.
It's staggering to think that Dodgy are teetering on the edge of their thirtieth anniversary and, as they plunge towards that huge milestone, they continue to unleash relevant material. Earlier this month they unleashed 'What Are We Fighting For'. Their fifth album, and first since 2012, is a buoyant reminder of why they reformed in the first place.