The first full length release from Castrovalva as a fully fledge three piece, WE ARE A UNIT follows a string of free downloads and a mini LP from these chaotic art rockers. The inclusion of Leemun Smith in the band's line up sees the trio unleashing a record here that pulls its musical cues from a dizzying array of influences and sources; everything from West Coast gangster rap to nose bleeding hardcore to electro rock being touched upon, sometimes all at once in some crazed fever dream of insane noise.  It's safe to say that WE ARE A UNIT is a somewhat unhinged sounding and frantic release, Castrovalva throwing just about everything they can at the mix and unleashing an unholy noise that defies conventions and musical genres constantly. Songs bleed into each other seamlessly at times, at others ending abruptly and lurching into completely disparate sounding sound clashes, the trio shifting from art rock to tough jazz to gruff hip-hop in the space of minutes.

With a healthy sense of humor, parody and self awareness, Castrovalva always inject the chaos with a light enough touch to keep things from spiraling into complete insanity; rapping about schoolyard marbles one minute and launching into crazed scat the next. Opener WE ARE A UNIT (INTRO) acts as a neat bookend to the whole experience, the frenetic bass rumbles, relentless drum crashes and hyperactive vocals tying naturally and obviously to the eventual arrival of WE ARE A UNIT (Outro) at the records climax. Between this neat concept, the band go about battering you with noise and confusion throughout; PUMP PUMP and THAT'S WHAT I'M TALKING ABOUT are short sharp shocks of ear bleeding hardcore reminiscent of The Blood Brothers and Lightning Bolt, the latters injection of West Coast gangster rap in the vein of Snoop Dogg or Warren G an unexpected yet inspired sounding touch. THUGLIFE continues to barrage you with amped up hardcore, all yelping vocals and distorted guitar abuse that feels like punch in the nose set to a truly throbbing soundtrack equal parts Black Flag and Les Savy Fav.

WE DON'T GO TO RAVENHOLM reveals the bands nerdier leanings by referencing seminal first person shooter Half Life 2, the Leeds trio unveiling another noisy barrage of guitars and bass noise, though this time round shot through with a healthy dose of melodic intent and even the odd moment of quiet release amongst all the pent up tension and aggression. HOOLIGANZ R US is a bizarre sounding blend of thug sounding hip-hop, tough jazz grooves and art rock; gruff rap roughs up against a muscular brass section and frantic drum beats. Castrovalva adopt a somewhat similar conceit on YOU BETTER MAKE THAT MONEY, though this a more chaotic and frenetic sounding musical beast and one that unexpectedly launches into an infectious hook that proves this is a band who can also unleash the pop sensibilities when the mood takes them.

With BISON SCISSOR KICK we're back to throbbingly noisy hardcore action that finds the band practically exploding from the speakers, clawing their way at you through sheer volume and intent, the lurch into Mars Volta like progtastic space rock another example of this outfits willingness to experiment and expand their sound at any given moment a truly refreshing and liberating experience.

Castrovalva have concocted a debut album in WE ARE A UNIT that almost defies mere categorization and genre pigeon holing, this trio throwing enough disparate sounding influences and styles into the mix to truly thrill, invigorate and excite. Never knowing one minute to the next what's to come, WE ARE A UNIT is a gloriously chaotic and inspired sounding release, Castrovalva one of the most truly experimental sounding art rocking outfits out there right now, a band unafraid to take musical risks and fly by the seat of their pants.

With WE ARE A UNIT, Castrovalva have unleashed one of the years most inspired, crazed and brilliantly demented records.

Released ahead of their forthcoming third album, AMERICAN SLANG, released early this summer, American rockers The Gaslight Anthem return here with the first single to be lifted from that record.

With all the usual Springsteen by way of the Replacements style rock bluster,  AMERICAN SLANG finds The Gaslight Anthem drawing from the same well of influences as before; this another chest-beating slice of anthemic rock that brims with confidence and vigor. Front man Brian Fallon still croons like Springsteen in his fired up prime, delivering the choruses with that none more American rasp to his voice, true stadium rocking glory pitted against rapid fire drum beats and cascading guitar chords.

AMERICAN SLANG is The Gaslight Anthem sounding resolutely confident and full of swagger, they may still be incredibly indebted to their obvious influences and strictly stuck in some retro rocking time warp, but this is the band sounding more self assured and driven than ever before. Boding extremely well for the forthcoming long player of the same name, AMERICAN SLANG is a single that proves The Gaslight Anthem are setting their sights on stadium rocking glory this time round; this may be derivative and over familiar sounding stuff, but it sure is satisfying at the same time.

London based electro popsters Rubicks are an outfit who've already caused quite some buzz due to high profile use of their music in Italian fashion house Valentino's latest campaign and a string of American, Canadian and European touring dates. Following 2009's IDIOT TIME EP and 2006's IN MINIATURE album, GIDDY UP is the four piece outfits latest release, another slice of slinky electro pop that slots them neatly into the Ladyhawke, La Roux, New Young Pony Club shaped musical hole.

With a blend of seductive female vocals, grinding bass rumbles, shimmering synth stabs and sinister guitar noise, GIDDY UP is superior sounding pop that takes its cues from the likes of Gary Numan, The Human League and Goldfrapp; dark and sinister in places yet shot through with a sugar sweet pop sensibility that lodges itself in your cerebral cortex and refuses to shift. Vanessa Anne Redd sings with a sultry by way of sleazy purr, delivering her vocals in ice cool style over a delicious electro pop soundtrack.

Released ahead of the band's forthcoming second album due this summer, GIDDY UP is a slice of superior sounding electro pop that finds Rubicks returning in fine form; certainly ones to watch.

A London based band fronted by Maltese raised singer/songwriter Fraser Gregory, Fraser are an outfit dealing in laid back indie rock that takes its cues from the likes of Travis, Damien Rice and Coldplay. Formerly of Rough Trade signings The Beangrowers who enjoyed success in Malta, Fraser are a band formed when Gregory relocated to London and met band mates Stuart Davenport, Josh Bergson and Nick Winters.  Recorded at Temple Studios and produced by David Vella, A GARDEN AT THE TOP OF THE TREE is the band's debut album and one that showcases this outfit's way with a mellow groove and gentle chorus.

Although in essence extremely formulaic and musically over familiar and pedestrian, Fraser are a band that possess a warmth, heart and soul that's hard to fault, injecting each and every song here with enough thought and feeling to ultimately charm and win even the most cynical of hearts.

Songs like RELEASE ME, FIND LOVE and LAY IT ON THE LINE are honest sounding indie pop songs that shimmer like a warm breeze, Fraser Gregory adopts a gentle croon that whilst unassuming and far from unique, is a presence that suits these songs perfectly, shot through with just enough of a sense of longing, searching and delicacy to impress. Launching into satisfying choruses with almost military precision, Gregory tugs at the heartstrings and has you humming along with an innate sense of the gently melodic, echoes of Crowded House ringing out loudly and proudly throughout.

LET IT RAIN and LAUGHTER (EVERYDAY) do nothing to mess with the formula that Fraser have established, further examples of delicate indie rock expertly crafted and polished to perfection, nothing that'll set the world on fire or shift any musical paradigms, but nevertheless songs that wash over you in a gentle wave of heartwarming whimsy.

OLD TREE is a slightly more melancholic sounding entry to the album, stark guitar chords brushing up against the minimalistic patter of drums and Fraser Gregory's hushed croon. With THERE IS A FOREST, Fraser go about briefly channelling the Beatles, mellifluous pop that has definite echoes of the Abbey Road era of that bands lifespan. BOUBOULINA SUNSHINE finds the band continuing in the Beatles-esque vein, Gregory delivering a Lennon like croon whilst sha-la-la backing vocals and bluesy guitar licks pepper the musical landscape.

Climaxing with ALWAYS WITH YOU, Fraser finally unveil a slightly more experimental sounding side to their repertoire, seemingly taking musical cues from Radiohead's Kid A and a smidgen of Sigur Ros, it's refreshing to hear the band attempt something a little more left field however mild the shift ultimately is; more a side step than fully fledged musical shift.

A GARDEN AT THE TOP OF THE TREE is an album that whilst not breaking any musical boundaries or offering anything profound or new, is a collection of songs from Fraser that are gently satisfying and expertly delivered. If you're looking for laid back indie rock that both tugs on the heart strings and delivers a steady supply of gentle pop hooks, A GARDEN AT THE TOP OF THE TREE is a record that will satisfy and charm.

You've got to give Ghostfire credit for at the very least attempting something a little different from the norm. With THE LAST STEAMPUNK WALTZ this is a band taking their influences from the likes of Nick Cave, Johnny Cash and Tom Waits  and then running it through a sepia toned filter of 1880's cobbled streeted Absinthe slurping London and steampunk imagery; all in all, quite the intoxicating and gothically tinged backdrop.

 THE LAST STEAMPUNK WALTZ draws from all this imagery and influence to emerge as something suitably unique, traces of sea shanty, folk, gothic balladry and the burlesque are enough to keep you intrigued and interested throughout. Whilst Ghostfire are perhaps an outfit whose ideas and influences are a touch more intriguing than their actual musical output in all honesty, THE LAST STEAMPUNK WALTZ still has enough little quirks and charms to recommend it; though a smidge more personality and attitude wouldn't go amiss next time round, the vocals in particular suffering from a distinct lack of lived in gruffness, those Cave, Waits and Cash influences doing them no real favors here.

Still, Ghostfire offer up an interesting and intriguing proposition in THE LAST STEAMPUNK WALTZ, a single that feels like the prelude to something special once this band truly finds its feet, personality and confidence; as such, this is ultimately promising but not quite wholly satisfying.