West London three-piece White Lies and their new album, Ritual, disprove the notion that rock is dead, says Gillian Orr
When photographer Richard Nicholson decided to document some of London's professional darkrooms he had more than 200 to choose from. Four years on, with the project completed, only five remain in business.
He says he hates being labelled a rock photographer and anyway, the English have never valued his artistry. So will his new George Clooney film finally bring Anton Corbijn the credibility he craves?
There could be no better illustration of the globe-shrinking power of the internet that Eric Whitacre's 'virtual choir' recording of his own Lux Aurumque.
It may not be the most glamorous of places, but the Essex town of Basildon hopes to bring itself a fortune by installing a homage to Hollywood's famous white sign.
It's hard not to harbour a grudging admiration for Muse's Matt Bellamy, even if the band's stadium-rock stylings aren't to your taste.
After the hype, can La Roux live up to the hairdo?
The debut of two music charts will provide more exposure for Britain's emerging talent, says Alison Wenham
Playing the Angel, from 2005, constituted a muscular return to form for Depeche Mode, but set a standard that Sounds of the Universe struggles to live up to.
Stereolab have made no fewer than 11 albums, many more than indie titans like Blur, Oasis, The Smiths and New Order, and far outstripping the output of technopop peers such as Depeche Mode, The Human League and even Kraftwerk – yet their appeal remains as inscrutable here as on their earliest releases.
After making his fortune turning samples of blues records into a soundtrack for a million computer ads, bald vegan god-botherer Moby has fallen back in love with dance music.