Delhi A R Rahman

Delivering a political album is always risky, with the possibility that it will get locked in its historical era usually a direct consequence. On their 18th album, prog rockers Marillion don't seem to care, and they have nothing to lose and no one to account to but themselves. FEAR is an acronym for "Fuck Everybody and Run." Two of its three lengthy, multi-part suites ("El Dorado" and "The New Kings") are overtly political statements that look at England and the calamitous state of the world not only observationally but experientially. Topical songs have been part of the band's catalog as far back as 1984's "Fugazi," and have shown up as recently as the multi-part "Gaza," from 2012's Sounds That Can't Be Made (the latter was perhaps an impetus for this record)…

S.U.S.A.R is Polish band Indukti's debut album. Most of the compositions here are instrumentals in the six- to seven-minute range that build tension through repetition of increasingly loud and aggressive melodic themes. Mariusz Duda, vocalist of Riverside, guests on two tracks. Dark, moody, S.U.S.A.R. has a rich, full sound that contrasts heavy, almost metallish riffing against slowly-building spacy sections. Tool circa Lateralus is indeed a good comparison in this manner, but Indukti's sound is a bit warmer - always intense, but more mysterious than it is menacing.

It takes a certain sort of band to fill Wembley stadium, one unafraid to embrace scale, flirt with pomposity, and perform the odd grand gesture. Watching Muse's live CD/DVD H.A.A.R.P recorded over two nights in June 2007 you're left wondering if Wembley is quite big enough to hold them. From the grand opening, when Muse ascend from an underground chamber and walk down a central ramp flanked by men in yellow chemical splash suits to Matt Bellamy's lengthy, florid turns at the grand piano, no opportunity is missed to make H.A.A.R.P seem anything less than a spectacle.

F.E.A.R. is the eighth studio album by American hard rock band Papa Roach. It was released on January 27, 2015. F.E.A.R. sold 24,425 copies in the United States in its first week of release to land at position No. 15 on the Billboard 200 chart, charting higher than their previous albums Time for Annihilation and The Connection, also outselling both of them. It is their first Top 15 album in UK since Lovehatetragedy. The album differs from the band's previous sound via the utilization of a "djent" tone in the guitar recordings.