(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.

The genre mashing quartet from New York have done it again with this second LP. The success of their self titled debut from early 2008 laid the path for the genius that is 'Contra'.

Clearly growing, as artists and people, has brought them to this strategically mixed up album. Not many bands can take influence from reggae, calypso, ska, mix it up with a dollop of pop-synth and sprinkle of xylophone and make something so creatively sound. Opening track, 'Horchata', literally pulls down the pants of conformity, in the middle of whole school assembly, while the girl he likes is standing next to him.

With a beat to rival a samba band, violins, and group vocals that fill the whole song with warmth, as a band they have done exactly what they wanted to, and it couldn't have worked out any better. To look at, you would  expect the Columbia University graduates, would be firing out the same old wannabe Smiths comeback that you see so often with emerging bands today. Quite the contrary, they prove themselves with talents way beyond their years.

Almost like a current day, US west coast version of 'The Beat', giving you music that you can equally think about or skank to. At the same time giving you melodically sound gaps to have a rest in between.

Taking sample from the massively popular 'MIA,' in track 'Diplomats son', not only bridges the gap between todays pop culture and an already different style, but also shows the diversity of an already proven diverse band. Ending with track 'I think ur a contra', they have put their neck on the line in the best possible way. Using this song to show that simplicity works with difference, and scattering musical influences can leave you with the most logical product.

'Contra' says something about the ambition of Vampire Weekend, and in this album they have achieved something that has raised the bar on what four guys with a vision can pull off, given artistic licence and a loyal backing. A musically well put together and thought provoking album.