Glasstone, 2010

Female-fronted post-punkers with their debut mini-album. The Bristol quartet fire out some pretty decent danceable and stylish, Blondie-vibed scuzzy punk tunes, and show a more moody turn of pace with the progressive ender “Little Bones”, suggesting there’s a bit more depth to them – or at least there could be in the future.

Mute, 2009

A fuzzy, shoegazey, My Bloody Valentine-type affair, Exploding Head ticks all the appropriate boxes with its minimalist yet tirelessly noisy ten tracks. The overabundance of guitar distortion and feedback, and its refusal to stray from or quieten that deafening standard, make it a fairly unforgiving record, but you’d probably be disappointed otherwise.

Friction, 2009

A cathartic, punky mishmash of numerous prog- and post- genre prefixes, Person Place Or Thing boasts as many angular riffs as it does straightforward grooves, with vocals that are suitably distinctive and scream-inclined. It’s a little inconsistent due to its adventurous nature, but shows real brilliance at times (see “We Come From The Northwoods”).

Anchor Brain, 2009

Sleazy and deranged dance-punk, with guitars as sharp and squealsome as the vocals. Call them catchy and they’d probably break a guitar over your head, then play a show with it. That’s also the problem for me though: the record is more fashionably objectionable than it is enjoyable.

Captains Of Industry, 2007

Five tracks of pretty good off-kilter, discordant, new-wave punk from the UK trio. Problem is, you don’t have to go any further than Blood Brothers for a reference here.

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We Put Out, 2006

Vibrant post-punk that flits between an almost dancey indie/pop influence and (more commonly) frenetic art-punk teetering on the edge of discordance, and produces a fine record in the meanwhile. Re-released on We Put Out Records.

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