Few writers are able to nail the retrospective surreality of a place and time in history with the elegant efficiency of Bill Broady. Set against the backdrop of a seedy, institutionally misogynistic and terminally necrotic Leeds of the 1970s, the unnamed narrator of There’s No ‘F’ In Wonderful is a knowing flâneur, a recorder of the sociocultural zeitgeist.

The London-based rock project Thirsty Quireboys returns with God Bless America – Best Of Thirsty, a striking collection that serves as both a heartfelt tribute to the late Guy Bailey and a bold reimagining of the music he created with lyricist Irina D.

The disc closes with a winning account of La plus que lente, beautifully turned and rounding off what is, in sum, a most agreeable album. There is creativity and no shortage of skill in these interpretations. Rêverie, in particular, charms from the first bar. Much of that charm comes down to sound as well as substance: the recording was made on a Bösendorfer 280VC concert grand in the Concert Hall at Snape Maltings, Suffolk, and Chandos's engineers have captured its warmth with their customary skill.

Two young creators from Sheffield have given Yorkshire something to cheer about at this year's BAFTA Young Game Designers competition, taking home half of the four awards on offer.

The Russian-born German pianist Igor Levit, one of the most politically outspoken and intellectually restless musicians of his generation, is to launch his own record label — NO SILENCE — with three debut releases due on 23 October 2026 in partnership with Sony Classical.

Following a string of acclaimed singles exploring everything from illicit affairs to the realities of 'proper jobs', Micko & The Mellotronics return with their ambitious third album, The Trinity. Released on 12th June, the record blends sharp songwriting, personal reflection and eclectic musical influences, spanning everything from ’70s new wave to contemporary sounds.

House of Wonder, assembled to mark Beamish's seventieth birthday, is above all a personal album, and that comes through in every bar. To celebrate the occasion, Beamish has returned to the instrument that first shaped her career as a performer in the 1980s: the viola. Crucially, the instrument she plays throughout is a viola made in 2014 by Stephanie Irvine—a gift that, in Beamish's own account, rekindled her relationship with the instrument entirely. The album gathers works written by Beamish for herself to play alongside new commissions from her three children—all accomplished musicians in their own right—and a circle of close collaborators.