Speaking about the collection, Amy said: “I remember the week of the 30th July 2007 – I released my first ever album This Is The Life, and I wasn’t quite sure how I found myself in that position. 

My album was number 1 in countries I’d never even been to before and I was so busy that I did not have time to take it in at all. “Fast forward to 2017 and I released my fourth album – it was crazy for me. 10 years later people were still interested. I just felt that after such an incredible journey it was time to look back and feel proud of everything that has happened. I hope you enjoy this collection of music.”

Travis make successful, sometimes truly special, pop music. The time for judging them against ‘serious’ or ‘real’ or whatever the self-consciously backward arbiters of desperate notions of authentic masculinity are calling lumpen rock music these days is over. 

If you sometimes need to reach for songs that make you smile, that deliver adrenaline or emotional balm, then you could do an awful lot worse than ‘Everything At Once’.

‘Howdy!’ demonstrates that Teenage Fanclub have attained such an imperious mastery of their one musical trick – Beach Boys, Big Star, Beatles, Bacharach, Byrds, Badfinger and Band imitated, assimilated and expanded – that you can’t even be bothered to get annoyed with them anymore. The liberated sound of ‘Howdy!’ shows that, in the moments of self-doubt that followed their untimely wake-up call, they’ve been out and seen the world, but like the bit where they started off best. There are plenty of moments of Fanclub genius – the triumphant ‘The Town And the City’, the majestic ‘Straight And Narrow’ and the cathartic voyage of ‘My Uptight Life’.

They leave quietly. ‘If I Never See You Again’ is a delicate piece of deadpan acoustic brilliance. It sounds like the big farewell but of course it’s not. [I]”We’ve only got a lifetime,” [/I] trills Norman Blake barely supressing a sly smile. The beauty of going nowhere is that you’ve got all the time in the world to get there. And of course, once you’ve made it, you can just sit back and relax.

Despite its excesses, Touch emerges as an uncannily thoughtful album that’s direct without being simple-minded, avant-garde without being inaccessible. In its finest moments — “Who’s That Girl?,” for example — Touch seems to offer a synthesis of Beatlesque popcraft and the unsparing intelligence of the young Joni Mitchell. In a musical field awash with deep-pocketed clotheshorses and hoary soul revivalists, Eurythmics are creating something unmistakably new.

Lewis Capaldi has been around since 2017, with his debut single “Bruises,” following with his first extended play Blossom. After his breakthrough with his single “Someone You Loved,” Capaldi released the extended play Breach in 2018. 

Because it is only an EP, Breach is very short, only being composed of four songs. This was mildly disappointing because his music is so amazing. There just wasn’t enough of it. This probably has to do with the fact that Capaldi is such a young talent, and he has not had time to organize his work. Overall, the extended play Breach is a very good series of emotional and touching songs and I look forward to the work Lewis Capaldi does in the future.

There's no polish or politesse here. Instead, Nutini plays the raggedly soulful Paisley boy on his homecoming, dispensing warm words of wisdom and heartfelt hippie sentiment to his nearest and dearest.

The playfulness integral to Neil's eclectic side project Marmaduke Duke is also apparent. Listen to the funky strut of Born on a Horse, or the untethered falsetto on Cloud of Stink. 

Neil says he's moved on from the misery that stalked Puzzle, but it's apparent that grief has left him hammering out his own compromise and pondering the hereafter. The pared-back God & Satan sees him "talk to God as much as I talk to Satan because I want to hear both sides". 

His lyrical style leans towards obliqueness but, for all his empathy with the human condition, he's also well versed in a sense of its absurdity. It explains why, alongside God and love, horses are a recurrent theme and lines such as, "I like to think I'm Mr Thoroughbred", are sung with his tongue stuck firmly in cheek.

The Second volume of remastered singles by the British rock band, taken from the albums they released between 2000 (‘XTRMNTR’) and 2016 (‘Chaosmosis’). Tracks include ‘Accelerator’, ‘Country Girl’, ‘Can’t Go Back’, and many more!