Post-punk, Britpop and...viral TikTok bedroom pop?

It's time for another weekly album round-up, in which I bring you opinions you didn't ask for on albums you haven't (yet) heard. Though I have listened to a mix of albums of old new, the blogs will now focus solely on the latest and greatest/not-so-greatest

Cardinals - Masquerade

If Dublin has Fontaines D.C., then Cork has the brilliant Cardinals. Having familial roots in Ireland's wonderful second city myself, I was immediately drawn in when I'd heard their brilliantly lovesick waltz, 'Roseland', combining elements of The Pogues with unmistakable post-punk akin to the likes of Iceage, and storytelling that oozes the city of Cork. Their debut album dropped back in mid-February, and was one that I was very much hotly anticipating since hearing the single back in 2024.

Masquerade, it transpires, is good, and threatens at times to even be great. The run-time of just over half an hour, however, doesn't allow the songs to be as freewheeling and majestic as they could be - I would argue this is their cardinal sin (sorry). A lot of the songs swagger in with an offbeat waltziness such as the swashbuckling 'St Agnes'. The title track follows and builds toward a beautiful explosion, as does closing track 'As I Breathe', but the centrepiece of the album undoubtedly is the gorgeous 'I Like You', which would be enough to make anyone swoon. 

7/10


Cast - Yeah Yeah Yeah (2026)

The 80s and 90s were a fruitful time for the indie scene as far as Liverpool was concerned - Echo and the Bunnymen, The Las, The Teardrop Explodes, and Shack to name a few iconic bands from Merseyside. You've also got Cast, who I can only confess to having known the name of. On having their latest effort, Yeah Yeah Yeah recommended to be via Twitter, I added it to my list, knowing nothing of what to expect. Honestly, nothing here really blew me away - sure, it's an album full of well-crafted indie pop songs of an unmistakably Britpop persuasion with half-decent choruses. But there's nothing here to draw me back in. 

6/10


Hemlocke Springs - The Apple Tree Under the Sea (2026)

Hemlocke Springs achieved viral popularity via TikTok with her self-produced song 'Girlfriend', though I have to confess to not having heard it due to the fact I am very old and don't have TikTok. That being said, with the release of The Apple Tree Under the Sea, reviews generally seemed favourable, so I was intrigued and excited to check out Hemlocke's work. Going into something without prior listening can usually go one of two ways. Thankfully in this instance, things have certainly gone the right way.

It's easy to see why she's gone viral - it's some of the most infectious pop music you could imagine. And yes, infectious, catchy - these are words that don't necessarily always equate to enjoyable music. But in the case of The Apple Tree Under the Sea, it is highly enjoyable. 'The Beginning of the End' has phenomenal staying power with its euphoric chorus and Hemlocke's incredibly unique vocals which bring early Santigold to mind. Equally 'W-W-W-W' builds and weaves majestically through its 4:26 run-time, which for this album is practically 'Stairway to Heaven' in terms of length. 

I will say that apart from the irresistable 'Set Me Free', the album doesn't maintain the early consistency throughout, but it's still an excellent debut that suggests Hemlocke Springs will be around for a while yet. It goes without saying that pop music has been in decline in terms of the derivative dross we see in the charts these days. But my word, it's lovely to hear someone bucking the trend - and who'd have thought it would be a former librarian doing so from her bedroom?

7/10


Iron & Wine - Hen's Teeth (2026)

It must have been around 2011 when I first became of aware of Iron & Wine - Sam Beam's long-running alt-country solo project, with Hen's Teeth the 11th album in a discography that dates back to 2002. His 2011 release, Kiss Each Other Clean, was in fact my first exposure to Sam's work, which I have to say I adored. I even added non-album single 'The Trapeze Swinger' to my all-time favourite songs playlist - a gorgeously soothing nine minute reflection on life and the afterlife as the protagonist stands at the gates of heaven. Though I have to confess to not having explored anywhere near enough of what I assume to be a discography rich in beauty.

It's certainly the case for this album, with plaintive harmonies and brooding vocals over gently plucked acoustic guitars dominant throughout. It's nothing revolutionary by any means, but it doesn't need to be. 'Grace Notes' feels like the heartbreaking centrepiece, and 'Half Measures' closes out the album with a majestic wooziness, but in truth there are no overall standouts otherwise. Perhaps it's an album that warrants repeat listens to truly unravel, but for now it's pleasant enough.

7/10


Buzzcocks - Attitude Adjustment (2026)

Think of Manchester, and chances are you think of the usual suspects - Oasis, The Smiths, The Stone Roses. But there's a band from MCR that predate all of them, and that is of course punk's very own Buzzcocks. Music panel shows told us to 'never mind them', but were they right? Well, of course not - Buzzcocks are obviously seminal. But what about their latest effort?

Honestly, it's probably been my least enjoyable listen all year. Every track feels like a chore - there's no soul, no imagination, no punk edge whatsoever. It's just a bit bland. The choruses are either dull or annoying. So, yeah...on this occasion, never mind the Buzzcocks.

3/10


DZ Deathrays - Easing Out of Control (2026)

Brisbane's noise-rock/dance-punk enthusiasts DZ Deathrays have been around since 2008, with Easing Out of Control marking album number seven. They released their debut Bloodstreams in 2012 to reasonable acclaim, but haven't really gone beyond down under in terms of awareness over the course of their career. So are they still worthy of the attention they garnered after their debut and never really maintained?

On the evidence of this album, certainly. Not only do the band maintain a lot of the frenetic energy of their earlier sound, there are a couple of mellower moments that work well and somehow don't feel out of place. At only half an hour or so, the album is over before you know it, but it's a worthwhile ride for sure.

7/10


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