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home because of the dark eeriness the band presents them with tonight. The guitar tone has that warm vintage crackle that heightens the creepiness of these otherwise straightforward rock

they produce seals the deal. Soothing, deep and warm bass combine with clear mid-tones and crisp highs for the sort of clarity serious music lovers look for in over

feeling a little lost, the underlying music from Marr fits the tone perfectly. Even the verses of The Trouble With Us , the most upbeat track here, are made to float

long and a cold stillness lingered in the air, perfectly befitting the crisp tones of Dempsey's acoustic guitar. Cleverly stitching together a segue formed around the crowd's jubilant

Much more languid, and definitely lighter in tone than Apichatpong Weerasethakul's previous (and terrific) film,  Uncle Boonmee Who Can Recall His Past Lives ,  Cemetery of Splendour

away in this one, it's hard to not move around to its infectious tone. You can expect  The Goods'  debut LP to drop around March

dead grandmother to finish her book. Then her mother Halise arrives, and the tone only becomes more bitter and stark, as dark snow-blanketed days pass and Halise spends

meal to come, providing introductory tastes of the melodic guitar leads, crisp bass tones, ripping double kicks and a vocal range that’s more than comfortable with dynamics and fast

Phil Bradley set the tone for the evening when a punter called out, "Are you Jon's dad?" He responded, "No, smart arse! I'm not!" and then went