Taking themselves back to their roots, and grasping onto what made Turin Brakes stir up a fuss in the first place.

Outbursts is a multi-layered recipe for achievement, although obviously dwelling slightly on past successes. This being their first studio album since 2007s Dark on Fire, its fair to say this is a healthy step up.  The mellow storyteller like melodies, wrapped in blankets of anything from bongos to strings, accompanied by familiar claps and crisp double-bass lines, set this album apart. The tones are communicated so clearly, without being bare and lonely. Un-deniably uplifting pathways are laid, connecting each track, but still leaving relaxing dips to breathe it all in.

The teaser for this album that was bestowed upon us is opening track, Sea Change. A clear example of the hard work and promise still expressed by Olly Knights and Gale Paridjanian, the driving power behind Turin Brakes. It sets you off slowly into a world of acoustic retire, but builds up contently with stepping stones of drums and strings, into the thick rich sound that Turin should be known for. This song stands out as the catchiest, and most understandably written, which does make you question its placement in the running order, but nevertheless still plays it’s part.

A Personal peak comes in the form of Paper Heart. By not overcomplicating its communication to the listener, it pulls you onto the raft, letting you float down a sleepy river of piano keys and warm chorus’.

The voices of Olly and Gale intertwine unarguably, complimenting each other, and the music. These vocal connections amplify the build-ups that help these songs raise your spirits.

It is fair to say, that the production on Outbursts, helps to achieve the more interesting atmospheres put into the tracks. Something that could work against them in live performance, but it helps the album make sense, so all power to them.

Outbursts is an essential mood setter. Take the opportunity to enjoy this album, while the sun is very slowly starting to put its hat on, but the evening air still holds its crisp wintry breath.

(Jan 19th 2010, Dir. Dylan Southern)

I must admit, I hadn't really listened to Blur intently before, apart from the un-escapable Girls and Boys rendition laid on at every standard indie disco. I was indeed sceptical. It took all of five minutes for this, 'I don't like Blur, but I don't remember why' mindset to wash away.

Reunion tour films are generally pretty crap, but this one succeeds in changing that perspective, (at least for the two hours it's on).

Using an interesting mix of new, and archive footage, this documentary takes a personal look at the past. Putting you in the mindset of the band members. Helping even the least informed watcher understand what Blur, were/are, all about. Taking you through the highs and lows of their career and bringing you comfortably up-to-date. Treading carefully through the rocky relationship between Damon Albarn and Graham Coxon.

Even if this documentary was made by the powers that be, as merchandise, to try and squeeze some extra pennies from the reformation... it is still impressive, boasting some amazing cinematography.

Extracts from the reunion tour (including Glastonbury and Rough Trade in-store footage), mixed with 'battle story' style interviews, shows that as a band they are the same, but as individuals the changes are monumental.

An in depth look, at the building blocks that put together a genre defining band, that is attention grabbing and enjoyable to watch.

Taking the emotional roller-coaster that is life, and harnessing it into a masterpiece album can't be the easiest of tasks. For scottish indie rock genius' Frightened Rabbit it seems like it couldn't be easier. Offering songwriting that flows so beautifully, through the entire heart string dangler that is, The Winter of Mixed Drinks.  If you listen really, really hard, you can hear the sobs from bedrooms everywhere already.

Moving away from the relationship break-up themed power that was 2007's release, 'The Midnight Organ Fight', has left singer Scott Hutchinson venturing into a different twist of thought processes to put together 'Mixed Drinks'.

No time to mess around, instantly packing the uppercut of a prize fighter in opening track Things. Lulling you in slowly with gritty guitars, gentle keys and atmospheric vocals topped off with thumping folk-like drums, building up into a hurricane of change. “I didn't need these things...I left them on the floor and ran for dear life through the door” sings Hutchinson, suggesting that this album has become a new chapter for the band. Not a change, just a progression.

Things is followed by massively popular single Swim Until You Can't See Land, released back in October 09 as a teaser to compliment what Mixed Drinks has in store. “Swim until you can't see land...Are you a man, are you a bag of sand?” is rebounded, and seems like a personal challenge Hutchinson is setting for his metaphorical protagonist, as he walks the journey that Mixed Drinks lays out. Skip the Youth follows this, and you get the feeling of a departure into new things, maybe a growing or evolving. The theme of moving on, and facing your own demons seems so personal and thats why you can connect with it so easily.

Moving into The Loneliness & The Scream. A dark title I know, but this song flows unstoppably, as clap and chant along go hand in hand. The Wrestle is the sound of reverberating hope on the horizon, like the feeling when a weight is being lifted from your shoulders. Both songs that portray a struggle but still manage to be refreshing and uplifting. You can already picture the sea of people chanting without remorse, in fields and venues wherever Frightened Rabbit decide to grace with their presence this year.

Nothing Like You is the second single to be released from Mixed Drinks. It is catchy and upbeat, and in many ways doesn't follow suit with the rest of the album. In some ways disappointing as you get the impression that it was made out of need, and not want.

This is made up for in track Foot Shooter, as the hairs on the back of your neck one by one stand up on end. An erie and progressive little package, washing you out to sea with the driftwood.

Hutchinson's full, and experienced vocals work so well through the entire album. The musical talent that Frightened Rabbit presents is second to none and the production adds to this, setting all the right tones for the emotions portrayed. A timeless album that will be appreciated all round. Don't expect this to be the last you hear of Frightened Rabbit.

And the reminiscence begins. Chimed into a thoughtful look at what 'The Loss' EP has in store through opening track, 'Lament'. Taking your senses back to every festival you have ever been to, through a connection of beat and melody, cleverly wrapped up in glockenspiel. The guitars and massive projection of vocals set the scene for the attachment, and thought processes that Club Smith have exposed through, 'The Loss'.

  It is not hard to believe that their songs have previously been remixed by the Kaiser Chiefs, also Co-Pilots (Jamie Ellis/ Russell Bloc Party) and have live dates this year with the likes of The Sunshine Underground, Johnny Foreigner and Das Pop.

The well structured instrumental abilities, and powerful vocals, instantly make Club Smith the perfect band to grace the festival stage's that 2010 have to offer. These songs were meant to be blown out into the night, in front of a sea of dancing wellington fairies. It is difficult to believe that such an interesting and individual band, with the tight musical standard that Club Smith boasts, were formed only a short time ago in 2009.

Showing their variability, in the slightly darker tone set in proceeding track 'Courtyard'. Raising chin's with their ability to mix thick, deep guitars, with simple synth waves. Using notably catchy, echoing vocals, allowing them to take over your thought processes. This EP states the obvious, which is to fully understand Club Smith, you need to see them live.

Final tracks, 'Connected' and 'No friend of mine', play on stereotypes through personal experience. Giving a chance to show that as a band, they can put across these emotions simply, but most effectively. With a second EP due to come out in summer, Club Smith will no doubt, be one of the bands to watch out for in 2010. 'The Loss' has depth, without being hard to understand. An exciting EP from a band I hope we see more of this year.

A disappointing debut from The Moons, fronted by Paul Weller's keyboard player Andy Crofts. Coming from a band that has so much to offer, in the way of style and originality, Crofts has difficulty injecting these traits into his new project. Opening track, 'Don't go changin'' , hosts un-impressive and honestly annoying, 'choppy' keyboards. Followed by unnecessary guitar solos and... erm... noises...

The whole package tied up with a bland and needy melody. The following tracks carry the pattern. Nothing thus far has done anything to stand out at all really.

The running theme exposed through-out the album is love- lost, and won. Having this as the theme on so many tracks, makes the album lack substance. You could expect this from any teen band, but I definitely would hope for more variation from such an established musician.

Half way through we reach track 'How long', and we have a glimmer of hope. A fantastically put together acoustic intro, moving into mellow melodies and a 'clap-a-long' beat. It works so well because you feel like the band are trying less! The melody suits Crofts voice far more than the overly testing, cheesy and pushy vocals from the preceding tracks.

It is impressive to note that Crofts wrote track, 'Wondering', when he was only a mere sixteen. Although not particularly exciting, it is well put together. Boasting lyrics that leave you 'wondering', about a thing or two. It lets itself down with a 'time filling' drone of voices, that if you try really hard, you can imagine weren't there when the song was originally written.

The album's finale, 'Last night on earth', is a culmination of everything that has come before it. It has a little bit of each element from the previous tracks. Trying to trick you into appreciating the fact that, for the most part, they have tried too hard, and in doing so ended up with a fairly stale and needy album.