Like everyone else, I hate it when French people pretend they do not understand the English language. That said, the biggest problem with Marlon Magnée's debut solo album Dark Star is his insistence to sing some of these songs en anglais. Sadly, this affliction also hit La Femme's last album Rock Machine which traded a certain French mystique for a bunch of English cliches. Still, these are some of his best songs since La Femme's second album, and any fan of that band's work will feel right at home with these catchy little tunes that merge stylish synthpop with a motorik heart. Plus, "La première" is pure magic. 7/10
The new album by The Delines was a mild disappointment. Perhaps The Set Up was rushed a little - coming as it did merely one year after their previous LP (the excellent Mr. Luck and Ms. Doom). The relaxed, Americana-tinged vibes are still there, and Amy Boone's soulful vocals hit as hard as ever, but this particular set melodies seems remarkably weaker. 6/10
Other than the obvious hits, I've never been a big fan of Squeeze. Which is why Trixies, their latest, is such a pleasant surprise. This is not an old band sounding dull and irrelevant - instead, it is Chris Difford and Glenn Tilbrook re-recording songs they wrote in 1974, four full years before their official debut. Back in the 70s, this concept album set in a fictional London nightclub was rejected, but here in 2026 it just sounds exciting and fresh. Trixies is playful art pop with certain glam and psychedelic undertones (I mean, "The Place We Call Mars" is basically David Bowie). Perhaps other 'older' bands should follow suit and release stuff they did in their teenage years? 7/10
Earlier this month, I wrote the full review of Morrissey's Make-Up Is A Lie, and I would say that subsequent listens haven't made me love it less. Really, as long as you don't compare it to Vauxhall & I, this is really strong material that stands up against some of his more acclaimed work. Paid critics are slowly coming round, too. 8/10
Back in their day, Voxtrot did not exactly set the world on fire - but they had this great knack for an irresistible melodic flow. Their run of EPs was amazing, and "The Start Of Something" was the best song that The Smiths never wrote. Where they faltered was a fully-fledged LP. Despite having a few great songs ("Kid Gloves", "Firecracker"), their self-titled album was the result of a burnout rather than of true inspiration. Does Dreamers In Exile right the wrongs? Well, they sound exactly like they did in their heyday in mid-00s, and the melodies are as free-flowing and beautifully long-winded as ever, but I can't get rid of the following thought: there is a brilliant EP here ("New World Romance" / "The Times" / "My Peace" / "Rock & Roll Jesus") but beyond that the levels of their sugar-coated power pop get too high. Good stuff though. 6/10
With some terrific post-punk crunch and a few great guests (Luke Haines, Lee McFadden of Television Personalities), Swell Maps return with C21. These days, the band is basically Jowe Head with a bunch of friends, and the album does not come especially close to their two classics from 1979 and 1980, but this is still a good reminder and a convincing set of tasteful freak-outs. 6/10
The New Pornographers are back with their 10th (!) album. The Former Site Of marks the first release without their disgraced drummer, and it is perhaps their most subdued and least flashy LP ever. Which does not mean, of course, that AC Newman has stopped being one of the best songwriters currently working in indie music. The hooks and vocal melodies are still there, they just weave their magic into you slowly rather than knock you off your feet from the get-go. And while "Pure Sticker Shock" may feel a little too repetitive and uneventful for my tastes, "Ballad Of The Last Payphone" and especially the closing epic title song are some of their best work ever. Also, "Wine Remembers The Water" could have been written by Dan Bejar. But it wasn't. 7/10
Finally, House Of All stick to their plan of releasing one album every year. Inklings is still good, and I enjoy these grooves as much as I enjoyed them previously, but for how long can this go on without straying away from the formula? Or is that a wrong question? 6/10
Songs of the Month:
"La première" by Marlon Magnée
"Dilaudid Diane" by The Delines
"The Place We Call Mars" by Squeeze
"The Monsters of Pig Alley" by Morrissey
"Rock & Roll Jesus" by Voxtrot
"Johnny Seven" by Swell Maps
"The Former Site Of" by The New Pornographers
"Wrecked" by House Of All
