For years, decades even, Yo La Tengo have inhabited the role of the indie mainstay; “business as usual” could describe any of their albums since the mid-aughts at least. That makes Yo La Tengo sound like a band who sticks to one successful sound, however, which couldn’t be further from the truth.

On Painted Palms’ second album, Horizons, the duo updates its sound by 20 years; moving from the ‘60s pop-psychedelia of its debut full-length, Forever, to the fritter-y synth-pop of the ‘80s. And boy, do Painted Palms love their synths.

Neil LaBute’s latest confirms that the writer/director is out of touch and out of material.

Whether you think the world needs another Public Image Ltd record depends entirely on how you feel about John Lydon. The cantankerous master antagonist rarely invokes an ambivalent reaction in people: it’s either love or hate.

Wonder Woman’s relaunch with the New 52 was one of the more celebrated series, however, the retooling of her origin at the hands of her current creative team late last year was certainly not above criticism, and Wonder Woman has been trudging along since.

Shaun Fleming’s second solo album under his Diane Coffee guise, Everybody’s a Good Dog, has as many personas as it has tracks. Fleming doesn’t worry himself about timeframes or styles—or cohesion, for that matter.

Bloodsucking Bastards has been endlessly described as Office Space meets Shaun of the Dead, but that pitch is just far too apt not to be cited again.

The act of reinvention is a time-honoured tradition in the world of pop. From global megastars like Madonna and Bob Dylan to lesser-known indie outfits like The Horrors, a shift in direction can often lead to rejuvenated results.

A re-released box set made even more attractive by a new bonus documentary and lower price point.