It was with a teary eye that I first heard Lowgold. They sounded so perfect, deriving from the blueprint for innovative guitar fused melody. After that, there was no turning back. Isn't it great that in a time of unprecedented amounts of appalling music doing the rounds, that bands as special as Lowgold can release gorgeous records like Just Backward of Square. Surprisingly not all of the critics have lavished praise on Lowgold's debut even though it possesses a massive untapped potential. Ok, there's nothing revolutionary going on except straightforward indiepop but it is delivered with a panache and enthusiasm that is altogether too rare. All of the songs bar one were written by singer Darren Ford and while he doesn't depart from the template too often, it hardly seems to matter when this sort of thing has the ability to charm the birds from the trees. His voice is slightly distorted at times adding to the lo-fi feel that many of the tracks possess.

The fact that there are so many precious moments on this album means that it's hard to pick highlights. 'Beauty Dies Young' is certainly one, however, as it takes its lazy attitude and comes up with terrific sonic creations that are as infectious as an airborne virus. 'Open the Airwaves' has a staggered stomp; Ford's vocals melting seamlessly into the mix as a tirade of guitar interruptions surround them. 'Never Alone' evolves from its humble beginnings into a fully fledged orchestral wailing guitar montage. It seeks out those hairs on the back of your neck and toys with them until they stand up and take notice. 'Mercury' is another slow burner that has a chorus to die for as flailing guitar bursts spit fire all round it.

The list of aural pleasures just goes on and on and there's scarcely a duff track in sight. You will look long and hard for an album that consistently lives up to JBOS's high standards. It reminds me most of Wheat's Hope & Adams. It has a cool charm all of its own without ever sounding like it is pushed or hurried. There are also echoes of Doves and early Mogwai peppered throughout which gives JBOS a cosy familiar feel. Intelligent, low-slung guitar movements perfect for public consumption. Start digesting at your earliest convenience.

Rating: 7/10

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Post-Rock certainly has its champions; you need not look much further than the likes of Mogwai, Sigur Ros, Godspeed You Black Emperor! and Do Make Say Think to get a feel for the power of this genre. Up until now the output has been erratic, at times breathtaking but prone to nasal plucking boringness. What Post-Rock needed was a band to continually search the horizons for new turns and balance this with a consistency of greatness. The answer came from the unlikeliest of sources, Midland in outer Texas to be precise. Mark Smith (guitar), Chris Hrasky (drums), Munaf Rayani (guitar) and Michael James (bass) may come across as ordinary likeable lads in interviews but what sets them apart is the dramatic soundscapes they are capable of dreaming up with the basic tools of their trade. With guitar in hand the glittering blackness quickly turns to snow and lights, like succumbing to an acid rush by way of a tune.

This is Explosions third album (debut ‘How Strange, Innocence’ had a circulation of only 300, the follow up ‘Those Who Tell The Truth Shall Die, Those Who Tell The Truth Shall Live Forever’ released in 2001 has all of hypnotism of the current album) and is certainly up there with the best instrumental albums of all time. The fluidity of the ideas and the simple chord progressions will have you swooning and wondering why vocals were ever invented. Apart from the music the song titles have a deep melancholy. ‘First Breath After Coma’ which opens the album develops from a shimmering chord swirl to a more rounded riff that is backed by a focused flurry of drumbeats. As the rockets spiral towards the atmosphere all hell breaks lose until the furnace is quelled to reveal another exciting chapter. Reindeer bells suddenly dictate the pace, guitar shrapnel flies about, huge beats slice the peace and the disparate parts fit together like a jigsaw of the Mona Lisa. After a while the whole thing gets quite emotional.

After the heartbreak, ‘The Only Moment We Were Alone’ has a clearer agenda. The jangling is more focused as if heading somewhere in particular but that’s not to say that it doesn’t affect. This is the sound of an instrument masquerading as a puppy; the only difference being that it never grows old. The shimmering apocalypse purposely builds to air raid proportions and then downsizes to a more manageable sound fest. The marching stomp that accompanies the journey makes the whole thing all the more enjoyable so much so that the 8 minutes of this song may be among the most beautiful you will ever spend. Explosions In The Sky have admitted that they imagine the scene before they write the music. ‘Six Days at the Bottom of the Ocean’ is based on the Russian submarine that floundered a couple of years back killing all the sailors within. The despair in the otherwise crystal clear playing is evident, the creatures outside so full of life yet of another world shunt by as the chords are chimed in unison. Things take a lighter turn with ‘Memorial’, the juddering strumming recalls Sonic Youth unwinding as they create another classic tale of guitar subtlety. Appropriately enough several maelstroms hide around every corner. Surprisingly the whole thing can seem a little oblique at first but there’s a beating heart ready to hug you if you persist.

The album ends with the undoubted highlight ‘Your Hand In Mine’ which pulls all the extreme emotions together. All the essential ingredients are present. The slow patient build up, the structured drumbeat and sucrose guitars disguised as messengers from heaven. The core of pummelling circular guitars evokes a genius of noise that will tweak your heart until it discards all those failed romances. As the cavalry of Fender Stratocasters ride into the sunset you can’t help but throw imaginary flowers in their general direction. The Earth Is Not A Cold Dead Place may take a while to sink in but the task is made all the easier when the rewards are this great. The album has the guitar as its centrepiece and the power that is evoked is unlike anything you’ll find elsewhere. There are only 5 pieces of music but despite this fact each part has enough twists and turns to leave your hair in a guzzled mess. Once Explosions In The Sky take a hold of your heart you’ll discover you’ve grown an alternative atria.

Rating: 9/10

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