Various Artists: Scared to Get Happy – A Story of Indie-pop 1980-1989

Kveikur is really the first new album from Sigur Rós since 2008’s Með suð í eyrum við spilum endalaust. Their last, 2012’s Valtari, only had two fresh tracks and was otherwise redone offcuts or previously shelved material. The creative process leading to the appearance of Kveikur further differs from its predecessor as the band are now a three-piece, after the departure of keyboard player Kjartan Sveinsson.

“We’re Chelsea Light Moving, we’re from London.” Coming from Thurston Moore during the first UK outing of his post-Sonic Youth combo, that’s amusing. Not only are the rest of the quartet American, Moore himself remains the definition of New York cool. And Chelsea Light Moving sound as American as apple pie with his trademark slash-and-dive guitar and conversational vocals. “It’s Sonic Youth,” declared a voice to my left.

Titling their long-delayed second album The Second Coming meant The Stone Roses had run out of religious metaphors for their 2012 reunion. They already had a song called “I Am the Resurrection”. Still, with super-fan director Shane Meadows on hand to capture their return, actions spoke louder than words. At their homecoming concert in Manchester’s Heaton Park, he caught their singer Ian Brown touching the outstretched hands of the faithful, anointing them with his mystic power.

It's apt that the word "slow" crops up in the title of the first album proper in 16 years from Scotland’s seminal and influential indie kingpins. "Stately" would be even more suitable. The pace at which Stephen McRobbie and long-term accomplice Katrina Mitchell move is akin to the speed change is accommodated by the rules governing accession to the British throne. And, in many ways, The Pastels are as important to the fabric of what makes this island nation tick as the royal family.

It is no hyperbole to say that The National have made some of my favourite albums of all time. In every case, it has never been a decision I have reached lightly, or quickly. Those first few listens, you’re merely aware that your heart beats a little faster when the band expertly hit certain emotional pressure points. It could be six months later before you realise why.

Continuing its voyage through Scandinavia’s music, theartsdesk opens the latest chapter in Norway with Still Life With Eggplant, the 16th album from Trondheim’s prolific, long-lived, occasionally challenging and always vital Motorpsycho.

In a way, falling prey to hype-inspired backlash as early in your musical career as Vampire Weekend did has its benefits - assuming, of course, you have the long-term determination and songwriting prowess to back it up. When “Diane Young”, the first single from Modern Vampires of the City, emerged it was a bit of a shock: a high energy power-pop jam, complete with speed-it-up slow-it-down Elvis-inspired “baby baby babies”, it’s one of the best things the band has ever done.

We're extremely happy to be able to offer a free download of this live track by New York collective Mice Parade to mark the release of their seventh album, Candela, today. In its six minutes, this version of "Couches & Carpets" encapsulates much of the diversity that has made Mice Parade a cult act over the past decade - from indie introspection to expansive post-rock guitars, jazz-funk grooves to melodies and techniques influenced by anagramatically eponymous band leader Adam Pierce's wide research as an ethnomusicologist. 

Sandie Shaw: Sandie/Me/Love Me Please Love Me