With Warped Tour anniversary rumours in the air, Green Day and blink-182 touring the world, and 20 huge new tracks from Sum 41, The Offspring’s latest contribution to the thriving Pop Punk scene couldn’t have been timed better. Supercharged is landing in the open arms of an already excited fanbase, and the legends of the genre do not disappoint.

Having helped to shape the distinctive Skate Punk sound of the 90s and early 2000s, it’s no surprise that The Offspring recreate that energy effortlessly with Supercharged, but it is impressive nonetheless.  

As the Middle East continues to fragment in hate and horror, a tragic unfolding of events with roots reaching back to the middle of the last century, any sign of love and deeply felt collaboration provides a welcome beacon, and signals the possibility of understanding and reconciliation.

While it does get very cold in the north of Norway, it’s likely that Permafrost’s chosen name reflects a fondness for Howard Devoto’s post-punk outfit Magazine as much as it does their home country’s environment. “Permafrost” was a track on Magazine’s second album, 1979’s Secondhand Daylight. And, with respect to the title The Light Coming Through, the penultimate track on Magazine’s 1978 debut album was “The Light Pours Out of me.”

Just over two weeks before Christmas 1967, The Rolling Stones issued Their Satanic Majesties Request. The album’s title appeared to serve time on the peace-and-love, flowers-for-everyone good vibes of the psychedelic era. A year later, the Stones’ next LP, Beggars Banquet, went further. It opened with "Sympathy for the Devil." “Just call me Lucifer…or I'll lay your soul to waste,” sang Mick Jagger.

The Velvet Underground first played before an audience on 11 December 1965. A year earlier, their two founder members Lou Reed and John Cale were beginning a period of schlepping around New York and New Jersey as supposed members of an equally dubious band called The Primitives. The job was to promote a single titled “The Ostrich,” just issued under that name.

Apart from being one of Britain’s greatest songsmiths of the past 50 years, Elvis Costello – from the early adoption of the rock’n’roll King’s first name – has produced a form of naked self-expression, blurred by intricately-tailored pretence. Though this is “art”, never artifice.

Somewhat amusingly, the sign outside Birmingham’s O2 Academy on Saturday stated that the evening’s entertainment was to be provided by “Frank Carter and Members of the Sex Pistols”. In a way, it was a bit misleading, suggesting that the original and greatest British punk band was going to be backing a relative newcomer rather than that they were touring with a new front man and, no doubt was more driven by John Lydon’s lawyer than what was going to happen on stage.

White Roses, My God isn’t a Low album. It couldn’t be. Mimi Parker, Alan Sparhawk’s wife and partner in Low, died in November 2022. And despite Low’s many musical twists and turns, Sparhawk’s public return to music sounds nothing like any of Low’s outings across their 13 studio albums, the first of which was issued in 1994.

As the name of a music genre, new jack swing was coined in an issue of the Village Voice dated 18 October 1987. Writer Barry Michael Cooper was profiling producer, songwriter and member of the R&B trio Guy, Teddy Riley when he created a tag exemplifying the mix of R&B and hip-hop which had hit super-big in 1986 with Janet Jackson’s Jimmy Jam and Terry Lewis-produced Control. Riley was on the same wavelength, and Cooper recognised a groundswell.

Sometimes a gig suddenly and completely elevates. Such is the case tonight when Moby, on his first UK tour in 12 years, plays “Extreme Ways”, his 2002 anthem for hedonism and its desperate consequences. What has been an adequately entertaining night blossoms into something more riveting. The 20,000-strong O2 crowd, previously mostly seated, rise en masse, move and sing along. The place is a-buzz.