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Recorded over several gigs between 2004 and 2005, ‘Scabdates’ relies almost entirely on material garnered from 2003’s ‘De-Loused in the Comatorium’. Despite what appears to be twelve tracks on the album, these are in reality extensions and parts to the three tracks ‘Take the Veil Cerpin Taxt’, ‘Circatraz’ and ‘Concertina’. Already with a reputation for songs of epic proportions, The Mars Volta take this to new levels; here ‘Circatraz’ is almost forty minutes long. The album kicks off with a curious exercise in noise production that builds into a teasing few notes leading into ‘Take the Veil Cerpin Taxt’ before setting off on a seventy minute psychedelic trip of pure Mars Volta, indulging themselves in outrageously long improvisations, singing guitar riffs and wailing vocals.

‘Scabdates’ does the best job it can of capturing the experience of a Mars Volta gig. However, like all live albums, without the presence of the band it loses something. For instance, the introductory noise works well as a tension builder in the live setting as the excitement of the crowd can be felt in anticipation of the performance. However, sitting in your living room the noise merely becomes confusing and irritating. Similarly, the spontaneity of the live shows is not especially apparent - it is something you just cannot pick up on CD. This is a shame because The Mars Volta are leagues ahead of most bands in terms of ability and creativity, but ‘Scabdates’, great though it is, is hard to recommend over the two studio albums.  7.5/10 - Jon Taylor

The Bad Plus: ‘Suspicious Activity’ - The Bad Plus, a US jazz/rock trio who became famous off the back of wild cover versions of songs belonging to Black Sabbath and Nirvana, have a lot to offer rock fans while also being useful as an introduction to jazz.

‘Suspicious Activity’, their third studio album, has both memorable tunes and wild instrumental playing, all under-pinned by fierce drumming. There is only one zany cover on this album, the instantly recognisable ‘Chariots of Fire’, but the Bad Plus’ own compositions measure up too.

The pulsing ‘Anthem for the Earnest’ has a mesmeric riff and the tightest ensemble playing you could wish for, while the subversive ‘The Empire Strikes Backwards’ (about the USA surprisingly) is as energising as it is witty. All three members have written tracks for the album, and this attitude towards equality is also obvious in the Bad Plus’s music. Unlike so much jazz, there are not extensive individual solos, but interactive improvising shows off their collective ability. There is some awesome playing too; David King’s drumming is at times thundering and always inventive while Ethan Iverson’s piano riffs are truly memorable. Some tracks, especially ‘Knows the Difference’ have the musical complexity you would expect from a jazz trio without ever losing its freshness or vitality. This genre busting trio might be too clever for their own good, but they are worth listening to! These guys can really play their instruments and the music gains so much from not being limited by a vocal line. The Bad Plus won’t be doing any stadium tours but they still rock! 8/10 - Tim Woodall

Various Artists: ‘Dream Brother – The Songs of Tim and Jeff Buckley’ - As a bit of a Buckley purist I really wasn’t sure how to approach this album. After the first listen I was even more uncertain.

This record sees some of today’s best alternative, folk and indie artists reworking the songs of Tim and Jeff Buckley. Both Tim, the 60s folk troubadour, and his son Jeff, a 90s rock influence on many who followed, gained widespread acclaim in their respective decades, before tragic and untimely deaths.

While all the featured artists are of a high calibre, reaching the multi-octave, soaring heights of the original tracks is a big ask. As such these songs are new and quiet acoustic interpretations.

The album opens with The Magic Numbers’ take on Tim’s ‘Sing a Song for You’ which is a rich and harmony-heavy affair. Elsewhere, Stephen Fretwell’s approach to Jeff’s ‘Morning Theft’ is impressive, as is the always sublime Kathryn William’s reworking of ‘Buzzin’ Fly’.

Even as a self-confessed purist I will concede that ‘Everybody Here Wants You’ has the potential to be a big hit for a new artist, however here, covered by Matthew Herbert and Dani Siciliano, it appears to lack the depth and darkness offered by the original.

For the fellow enthusiast I would recommend this album, which also contains contributions from Sufjan Stevens, Micah P. Hinson, King Creosote and many more. However I would advise that it is approached with an open mind, at least for the first few listens! 7/10 - Greg Sandford

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