The formation of damnation, Testament.
In the 80's Metal was represented worldwide by the big four: Slayer, Metallica, Megadeth and Anthrax. Following them came a whole bunch of bands that never quite made it, Testament being one of them. Well respected in the underground and infinitely better than 3/4 of the big four, Testament have quietly chugged away for the last 15 years. In 2007 they celebrated their 25th anniversary by regrouping with four of the five original members and recorded this album which easily eclipses their best efforts of the past. On Formation of Damnation Testament deliver some astonishingly good thrash metal that's both a rollicking trip back to the late 80's, yet somehow ends up sounding fresh, even innovative. If only other bands who've stuck around this long could show such passion, perhaps never having 'made it' provided them with the inspiration to record such a great album so many years down the track. Whatever the reason, they've proven they can still show younger metal bands a few things. Metallica wish they could be this good. (Craig)

Like vines, Hush Sound.
Chicago based indie-pop quartet with upbeat instrumentation underling a melodic song writing style. With guitarist Bob Morris and pianist Greta Salpeter trading off on vocals, they can sometimes sound like two different bands: the piano tinkling 'Ben Folds Five' style of Morris vs. the girlishly airy vocals of Salpeter, whose tracks come off like a politer version of the now defunct alternative-pop band 'Sixpence None the Richer'. Still a pretty good listen if you like summery sounding pop. Good for a slow Sunday afternoon. (Mark)

Version excursions, Dynamics.
Cover versions are a notoriously tricky proposition as there's always the hidden danger of drifting into the unintentionally ridiculous. Especially so when you're covering tunes via a genre with such a specific sound as reggae. However, like the recent Radiodread album from the Easy All Stars, The Dynamics have managed to circumvent the sometimes cynical undercurrent of revisionist pop and have brought something tender and delicious to the table. They happily throb and fumble along with such unbridled enthusiasm that any cringe worthy moments are instantly forgiven. They throw in a fat dollop of soulful modern reggae grooves where it's sorely needed and then mellow things out with an almost, but not quite cliched, after dinner vibe. Perfect for these stormy winter evenings in front of the heater. (Craig)

West of 5th: the New York sessions, Hank Jones.
87 years old & still playing in top form, Jones is one of the last links to the golden age of Jazz, having played with everyone from Charlie Parker to Ella Fitzgerald. A nice selection of mellow standards, perfect for those rainy weekends. (Mark)

Big iron world, Old Crow Medicine Show
Old Crow Medicine Show are the genuine bluegrass business. Rousing and unrelenting, sing-along and sincere, bouncy and joyous. Played at full-tilt folk speed and sung occasionally in spine-tingling harmony, Old Crow are a bona fide link to that great Southern musical tradition. There's lyrical range, too 'Union Maid' is a brash update of the Woody Guthrie rallying cry for the working man, whilst 'Let it Alone' bemoans the error in poking your nose into another's business. As raw and randy as anything I've listened to this year! (Monty)

Starless and bible black sabbath, Acid Mothers Temple.
Japanese psychedelic legends Acid Mothers pay tribute to their heroes on this thumping and triumphantly distorted mess. Its best you prepare yourself for an hour plus of ridiculously rawkus over the top riffage and sludgy power chords. Backed superbly by a rhythm section that thunders along, they create an overwhelmingly claustrophobic and pummelling soundscape that pays homage to the peak acid period of early hardrock. Along with fellow Japanese noise masters Boris and Ghost, Acid Mothers are channelling two things so often missing from most modern western psychedelic guitar works, namely passion and sense a dark and ominous mystery. (Craig)

The return trip...: Music from the new film, Blerta.
Favourite track while laid up sick was 'Dance all around The World' from the "Return Trip" cd by "Blerta" from our stack selection at central. The whole cd is good though very bohemian! (Max)

Leave the light on, Beth Hart.
Damn this woman sure can sing! Compared to everyone from Piaf to Robert Plant and (perhaps most unfairly) Janis Joplin, Hart is definitely the hardest sounding 'blues/rock' singer around. The 'Joplin' tag unfortunately makes her seem derivative when the opposite is in fact the case. Raw & honest, with shredding vocals that leave the anaemic pop, & hipster indie-cred singers that rule the US charts for dead, which may explain why she's a star in Europe but largely ignored in the States. 'Leave the Light On' is her 3rd CD, a raw mix of southern rock, blues rock, gospel and pop smarts. Not afraid to get down and dirty, her songs are real to the point of discomfit, digging deep into a troubling history of drug abuse and self-destruction. Recommended to be played loud. (Mark)

Fortress, Protest the Hero.
Modern metal has become a bewildering filed of genres and sub-genres and Protest the Hero evidentially hoped to confuse things further on Fortress by throwing everything into the mix to see what eventuates. There's a heap mathcore, a dash of screamo, a dollop of hardcore and post-hardcore, some old skool metal, a lot of technical death metal riffing, a heady undercurrent of progressive metal, then, to truly finish things off, there's even some piano tinkering. Ultimately what should sound like an utter mess turns out to be a little known gem of (very) modern metal. Either something very original and creative is going on here or I've truly lost my perspective; one minute its technical thrashing wizardry the next it's melodic and hypnotic. Definitely more rewarding with each listen and a real cut and paste (mini)masterpiece of mixed up genres (all of them loud). (Craig)

Chet is back, Chet Baker.
This year marks the 20th anniversary of the Bruce Webber documentary 'Let's get Lost' tracing the life of iconic jazz trumpet player Chet Baker, with the doco. getting a theatrical & DVD re-release. 'Chet is back' is one of Baker's best albums, voted by 'Q Magazine' as 3rd in a list of Essential jazz albums to own (after 'Kind of Blue' & 'A love supreme'). Busted in Italy for forging drug prescriptions, Baker spent over a year in jail, and returned with the album 'Chet is Back' in 1962. Teaming up with the best players in European jazz the newly clean Baker re-established his cred. with a harder fluid bop style, as well as a gorgeous reading of the classic ballad 'Somewhere over the rainbow'. As a 'bonus' the CD includes the 4 tunes Baker made with spaghetti-western composer/arranger Ennio Morricone. Composed during his jail stint he croons the lyrics (written by the court stenographer from his trial) in Italian, making for a truly weird coda on an otherwise classic album. (Mark)

HAARP, Muse.
I arrived late to Muse fandom but their new live album has firmly cemented them in my mind as worthy inheritors of rocks pomp and majesty crown. Recorded over two nights at Wembley Stadium HAARP is a perfect example of Muse's power to pare back their cryptic and indulgent prog and pop epics into hard hitting crowd pleasing numbers. The album showcases the band striped of much of the superfluous atmospherics of their songs and not losing one iota of their emotion. With the addition of a futuristic stage show, absolutely superbly recorded sound and 80,000 delirious fans the DVD portion is a welcome addition to the Muse catalogue but CD itself is equally enthralling. It has a slightly reduced track-list but is perfectly paced throughout with Matt Bellamy's gifted guitar heroics finely captured for maximum breath taking impact. (Craig)

Complete A and B sides : 1963-1970, Dusty Springfield.
Genius Mercury compilation showcases the complete A & B sides of all of Dusty's UK singles released between the years 1963-70, in strict order; with the A sides on disc 1 & the B sides on disc 2. Full of some of the most recognisable 'pop' music ever made, and a lot of 'should-have-been-hits', all of which show just how astute she was at choosing material and arrangements. No other British singer captured the essence of Motown & Spector's Girl group sound as well as Dusty. If you're getting into the new wave of UK female 'soul' singers (Amy Winehouse, Kate Nash, Adele, Duffy, Estelle) this is where it all began. (Mark)

Shivering king and others, Dead Meadow.
The third album from this Washington, D.C. band, finds them moving away from their more blatant 1970s influences and towards a more solid sense of their own identity and style. A lovely mixture of trippy ballads and riff-laden rockers. (Neil)

Day trip, Pat Metheny.
For anyone fortune enough to have seen this trio a couple of years ago in the Michael Fowler centre this album is essential listening. Guitarist Pat Metheny has led some impressive trios in his career but this one with Christian McBride (bass) and Antonio Sanchez (drums) is a definite equal to the classic Roy Haynes/Dave Holland trio.

It's clearly evident that these musicians love working together as they really sound like they're joined at the hip musically. While they are all virtuoso musicians the compositions (all by Metheny) are just that, rather than vehicles to show how clever they are. This is destined to join the list of classic jazz guitar trio albums. (Robert)

Bill Withers live at Carnegie Hall, Bill Withers.
Cult soul-singer who merged a 'folky' storytelling style with down-home soul, remembered mostly for the oft-covered hits 'Lean on me' & 'Ain't no sunshine'. He 'gave up' on the music biz in the mid-80's, yet his influence still lingers. This live set from 1972 features material from his first couple of albums, and is notable for the intimate presentation of the songs and the 'call & response' interaction with the crowd. Withers' songs were a blend of socio-political observations on life, family (Grandmas hands), war (I can't write left handed) & relationships (Hope she'll be happier). A truly gifted song-writer who was able to marry a true narrative gift, with simple lyrics that, underscored a real emotional depth and understanding. (Mark)

LateNightTales, Air.
Almost as good as this atmospheric collection of oddities, dreamy classics and straight-out classical pieces are the brilliantly un-edited liner note comments of Nicholas Godkin and JB Dunckel, Air itself. On The Band, 'I saw an interview with them on TV... Canadians are special... they look like men in the forest who cut wood.' On The Trogggs, 'These guys are geniuses... and I can relate to this song because I too fell in love with my Cousin... You too? I loved my cousin...'. Their comments around the main character in Jean Luc Goddard's movie Contempt containing the beautiful piece Ghost by Georges Delerue could be about Air's best music also. 'He's strange. It's right on the edge. You don't know if he's a pervert or he's romantic or poetic.' (Monty)

Workers leaving the factory, Actualities.
This mini album from local live faves The Actualities is a great showcase for the sort of talent emerging in Wellington these days. Gorgeously produced by Grayson Gilmour, the cracking songs really get their chance to shine atop a bed of lush strings and a wall of guitars. It manages to sound like the Arcade Fire, Coldplay and even So So Modern all at once. So check this out and then go to one of their shows - they're one of the friendliest bands around and they have a very handsome guitarist too. (Sam)

Rainbow, Boris.
If you happen to be on the lookout for a new album from Japan's finest psychedelic rock trio playing alongside Japan's greatest experimental guitarist then Rainbow is the perfect album for you. Boris and Ghost's Michio Kurihara take things quietly here, it's all about texture and intricacy and when things kick off heavy it's all wrapped up in a wonderfully warm analogue fuzz. While Boris are more renowned for their fearsome collaborations with Sunn O))) this album allows them to step back from their usual drone and feedback and swim about in the primordial psychedelic ooze of Kurihara's more neo-psych and post-Krautrock sound. Rainbow is a hypnotic, gorgeous and deeply involving listen, particularly via headphones, well worth taking the time over on a rainy Sunday afternoon. (Craig)

Cluster & Eno, Cluster.
The first collaboration between Brian Eno and German duo Cluster was a further development in the emerging ambient music of the mid-1970s. Its sense of rhythm and space and its quiet unfussy self-containment make it a mile away from mere new age twiddling. (Neil)

Instrumentals, Isaac Hayes.
Like most major black soul artists of the 70's, Hayes tried his hand at soundtrack work in the 'Blaxploitation' film genre. While the films themselves are mostly forgettable (with the exception of perhaps Shaft) the music created for these films was of the highest calibre incorporating Hayes' jazz influences, and shows off not just his sometimes overlooked skills as a composer, but also just how important the Stax band of musicians was at that time. (Mark)

The Roundhouse tapes, Opeth.
This double live CD from Opeth draws on material from throughout their long and illustrious career. Recorded at London's famous Camden Roundhouse the band, in magnificent form, expertly transposes their sweeping doom epics into the live forum. Frontman Mikael Akerfeldt is in fine voice with some hilarious monologues spread throughout and the superb ability of the band to pace their intensely dynamic material makes this disc a cut above the usual live metal fare. Opeth, often regarded as leaders of the Gothenburg set, show once again that their ability to restrain and then release their monstrous sound at just the right moment means they'll be leading the pack for some time to come. (Craig)

Rockferry, Duffy.
While the 'plucked from the obscurity of a small Welsh village' back-story may be good PR as opposed to the complete truth, there's no denying that Duffy is the next big singer to come out of the UK, following Amy Winehouse, and Adele. 'Rockferry' is getting a lot of hype, and though she may share some outward similarities with Winehouse et al, her musical aesthetic is anchored in an earlier time; thus while Adele's debut '19' was a bit all over the place stylistically - and thus a bit patchy - 'Rockferry' does live up to its promise. Duffy has a huge soaring voice, and producer Bernard Butler (ex-Suede guitarist) envelopes it with some larger than life wall of sound production ('Rockferry', 'Distant Dreamer') but subtle touches abound also (the slinky string line on 'Serious') and her voice never gets lost beneath it. At first listen it may seem a deliberately evocative reworking of the lush sound of 60's UK singers like Dusty Springfield, Lulu, & Sandy Shaw, but there's a lot of originality in her writing and voice, and its well worth checking out. (Mark)

Useless trinkets : b-sides, soundtracks, rarites, Eels.
Odds & sods collection from cult 'alternative pop' group. The Eels (essentially a project for front-man Mark Everett) back catalogue is a sprawling & prolific one, & this collection rounds up some elusive b-sides, soundtrack tracks, alternate versions, and outtakes. Their music was always a journey through the musical mind of Everett: Strange, often grim, but never dull. Released at the same time is the (perhaps) more accessible 'best of' 'Meet the Eels'. (Mark)

obZen, Meshuggah.
Swedish math metal technicians Meshuggah return with another visceral album of crunchy riffs and (a little less) stop start precision. A little less technical on this album, perhaps a tad more dirty due to the reintegration of a 'live' drummer, but nonetheless, another blistering album of modern intricate metal from leaders in the field. (Craig)

Accelerate, R. E. M..
After drummer Bill Berry left R.E.M became a mannered band of elder statesmen, with albums like 'Up', & 'Reveal'indulging their artier 'Beach Boys' pop craft, that were either to your taste or not. 2004's 'Around the sun' however, wasn't to many people's taste, and many thought that their best years were well and truly behind them. Early word on a new album was that it promised to 'rock out', but then REM had been promising a rock album forever, so no one thought they actually meant it. However 'Accelerate' does well & truly rock out, paying tribute to their 'early' sound but not wallowing in any kind of nostalgia. This is just 3 guys reconnecting with why they wanted to be a band in the first place. The lyrics are more political than ever, but are grafted onto the contemporary & frenetic sound of Peter Buck's guitars, and Mike Mills backing vocals, making these new songs sound energized and relevant at the same time. If you gave up on R.E.M years ago this one is worth your time, and if you stuck it out it's a reaffirmation that there's still great music in these guys. (Mark)

Dig Lazarus dig, Cave, Nick.
After a few subdued soundtrack albums it's somewhat of a surprise to find on his latest that Nick Cave and his Bad Seed cohorts bring on the funk! Maybe it's a hangover from his previous raunch and roll Grinderman project, but on 'Dig!!! Lazarus Dig!!!' Nick and co sound reinvigorated, sassy and loaded up on good old rock n roll swagger. Nick's never put a foot wrong as far as I'm concerned and this album is another masterpiece to add to the collection. (Craig)

Just a little lovin, Lynne, Shelby.
Covers albums are always tricky, especially covers 'concept' albums. They tend to veer between overly faithful interpretations of songs, to dramatic overhauls, both of which, even with the best intentions, end up being a bit pointless. Striking the right balance, making new 'art' from music so closely associated with another person is often impossible. In her career to date Shelby Lynne's own refusal to be pigeon-holed into one distinctive genre has probably done her more harm (commercially) than good, and she takes another left-turn here with an album of songs closely associated with the iconic Dusty Springfield. However Lynne doesn't seemed phased by the potential pitfalls and never makes an attempt to emulate Dusty's style or voice, just delivers 9 songs linked to Dusty (& one of her own) in the same intimate laid back style of her previous album 'Suit yourself. Stripping back the songs to their core, the subtle sparse instrumentation (snare drums, guitar, piano) manages to make new statements out of classics such as 'The look of love', 'Anyone who had a heart', & 'You don't have to say you love me. Recommended. (Mark)

Diamonds, Borges, Sarah.
Sugar Hill artist Sarah Borges treads a fine line between gritty country rock, rockabilly, punk & power-pop influences on her 2nd CD. Featuring originals alongside covers of punk band 'X', Tom Waits, & Greg Cartwright's great 'girl-group' rocker tribute 'Stop & think it over'. Well worth a listen. (Mark)

Nil recurring, Porcupine Tree.
Two more prog epics from UK residents Porcupine Tree. Trippy and sophisticated guitar pieces mix with the usual esoteric lyrics to create two (gently) experimental guitar albums. Fear of a Blank Planet and its accompanying E.P, Null Recurring, offer some nice introspective prog for those hankering for something Floyd-ish'. Well worth investigating if you've not heard before. (Craig)

The very best of Jane Monheit, Monheit, Jane.
Norah Jones isn't a jazz singer & if Diana Krall's last CD, 'From this moment on', proved anything; it was only to show just how limited she is as a vocalist, which leaves singer Jane Monheit at the top of the heap. Don't let the cheesecake art fool you, Monheit is currently the best young female jazz singer around, traditional, but not afraid to just back her voice with piano or guitar. Her individual CDs 'Never never land' and 'Come dream with me' are perhaps more representative of her talent, but this 2005 collection is as good a place as any to start. (Mark)

'Blue on blue', Nash, Leigh.
The band 'Sixpence None the Richer' seemingly came out of nowhere with the big hit 'Kiss me' in 1999, but they'd been around for a number of years before that making swirling alternative pop with vaguely Christian' underpinnings. Alas they fell victim to a legal battle with their record label and were unable to release another album for 5 years, by which time the momentum generated by 'Kiss Me' was gone. 'Blue on Blue' is the debut of lead vocalist Leigh Nash. Produced by Pierre Marchand (Sarah McLachlan) the CD is a bit more 'pop' oriented than her previous band, but her great voice highlights some of the weaker songs. Worth checking out if you're a fan of Sarah McLachlan. (Mark)

Moments, Lull.
An older album from Mick Harris and different from his usual Scorn produced work in that he tackles the dark and ambient but without the usual dub influence. 99 separate pieces of ambient swirls all digitally manipulated into a single track. Wonderfully hypnotic and relaxing (in a kind of unnervingly restless way). (Craig)

Pixies, Pixies.
In 1987 a band called the Pixies made a 17 song demo tape. 8 of those songs appeared on their mini-album debut 'Come on Pilgrim' but the other 9 tracks were never released, though some were re-worked for later albums. Some sound fresher, others lack the punch of re-tooled versions, but it's nonetheless a fascinating early look and what would become one of the most influential bands in rock. Highlights include the unreleased 'Rock a my soul, and an early version of the 'Doolittle' hit 'Here comes your man'. Clocking in at less than 20 minutes, it's short but sweet. (Mark)