When Laurence Binyon wrote: “Age shall not weary them, nor the years condemn…” he was, of course, talking about the fallen soldiers of World War One, not Amherst’s premier hardcore grunge punks. However, on hearing Sweep It Into Space, Dinosaur Jr.’s fifth album since their unexpected 2007 rebirth, it could easily apply to J Mascis, Lou Barlow and Murph.

It'll All Work Out In Boomland was issued by Decca at the end of July 1970. A poor seller at the time, it began attracting attention in the mid-Eighties when prices for original copies began creeping up. Around 2000, it was picking up about £100. These days, a first press of British rock band T2’s sole album generally sells for between £300 and £400.

11 Past the Hour opens with its title song, a delicious, twangy, string-laden Nancy Sinatra Bond theme that never was. The album closes with a lyrically empowered torch song, “Never Look Back”, which rises and rises over a marching band drum tattoo and swelling orchestration. Its enormousness is hard to argue with. Unfortunately, in between these two, Imelda May’s sixth album is a bit of a stinker.

Sound of Metal has been a long time coming. Director and writer Darius Marder faced years of delays ranging from casting changes to the whole world shutting down. Was it worth the wait? Well, six Academy Award nominations including Best Film certainly suggest it was.

Glasvegas deal in hyper-emotion, personal dramas playing out in Spectoresque caverns of sound.

Close to the back of Jon Savage’s 1991 book England’s Dreaming, there’s a section titled “Discography.” In this, he goes through the records which fed into and were spawned by punk rock and the Sex Pistols, the book’s subject. The wide-ranging selection begins with Fifties rock ’n roll and Max Bygraves, and ends with the “post-house dance music” of The Justified Ancients Of Mu and Renegade Soundwave.

Over 50 years into her career, Suzi Quatro could be forgiven for taking a break. And yet, last spring, staring down almost one hundred cancelled shows, her first instinct was not to put her feet up but to team up with her son Richard Tuckey on a new collection of songs as a follow-up to their recent collaboration on 2019’s No Control.

All theatre is local — if you can’t get to where a show is playing you can’t see it. That is, until a pandemic closes all theatres and forces their shows to go online.

Indie rock has taken a commercial back seat, even if the music press still hasn’t quite caught up. Sure, there have been hit-makers, and bands that sell out stadiums, but overall, indie’s tide is very slowly retreating. Like any genre, it will always be about, like westerns in Hollywood, a classic formula, but the take-up of technologies far beyond the electric guitar renders it a retro curio.

Bill Nelson knew February 1978’s Drastic Plastic was the last Be-Bop Deluxe album. In his essay for the book coming with the new “deluxe expanded” box-set reissue, he writes “that, as far as I was concerned, was that, the final Be-Bop Deluxe studio album, an era ended and a new one was about to begin. As the songs developed, I felt that the album might provide a kind of bridge to what might happen further along the road. It was definitely a half-way house between Be-Bop Deluxe and Red Noise.”