Back catalogue:

Notes: With zero regard for human life, the sentient renegade robot Czar Noir has a reputation for sowing chaos and destruction, and lives up to the title The Dark Czar!

Based on Czarface and MF DOOM’s collab album, Super What?, this highly articulated, 7-inch scale Czarface ULTIMATES! Czar Noir figure looks like malevolence incarnate with its jet-black color scheme with metallic, blood-red details.

Featuring intricate sculpt and premium paint detailing, this figure also comes with multiple interchangeable heads and hands, interchangeable forearm missiles, and a removable soft goods cape.

Accessories:
- 3x Interchangeable Heads: Neutral head, Screaming head, Laser eyes head
- 9x Interchangeable Hands: 2x Open hands, 2x Fists, 2x Claw hands, 2x Transparent claw hands, 1x Left fist
- Double arm missile
- Single arm missile
- Soft goods cape

Review: This wonderful album delivers a tight, vibing collection of traditional old-time Appalachian music. Featuring Liam Grant on guitar, Grayson McGuire on fiddle and Devon Flaherty on banjo and guitar, this debut recording brims with raw, authentic talent. It was recorded straight to cassette with no overdubs and despite the carefree atmosphere, the trio expertly channels the spirit of old-time music. Tracks like 'Dry and Dusty' and 'Taner's Farm' reflect their playful yet poignant approach by blending upbeat melodies with deeper themes of rural life and hard times. This one is a real charmer.

Review: Akira Miyazawa's Kiso is like a sonic postcard from his childhood, drawing listeners into the landscapes that shaped him. Released in 1970 as part of Victor's Japanese Jazz series, it's all about capturing what it means to be Japanese through music. The album showcases an incredible synergy between Takeo Moriyama's dynamic drumming, Yasuo Arakawa's rich bass grooves, and Masahiko Sato's expressive piano work, all beautifully complementing Miyazawa's heartfelt saxophone. It's a stunning tribute to nostalgia and nature, making it an essential piece of cultural history.

Review: Survival horror franchise Alan Wake saw its second instalment in 2023, following the game series' 2010 debut. Again, we follow novelist Alan Wake, as he attempts to escape his imprisonment in an alternate dimension by penning a horror story about an FBI agent, Saga Anderson. Both a detective story and a shoot 'em up, the second game bolsters the franchise's neo-noir and gothic Midwestern tropes; the soundtrack is fittingly both lachrymose and chilling, with its contributing scorers - Petri Alanko, Old Gods Of Asgard, Jean Castel and more - portraying Nordic moods of modern, nailbiting mystery. Through stark, grim, minor-keyed anthems, trip-hop furrowers and trembly orchestral laments, we find dead bodies found in the woods, fight spriggan-esque creatures, and soak in moods of noir crime psychodrama, all chillingly captured in a single sonic melange.

Review: Rashied Ali had a unique talent for transforming unlikely sound pairings into masterpieces. Following Interstellar Space with John Coltrane and Duo Exchange with Frank Lowe, he joined forces with violinist Leroy Jenkins for this album in 1975. Jenkins was fresh from the Revolutionary Ensemble and composed all pieces for this rare duet, which is now reissued on vinyl for the first time in nearly half a century. The deluxe set includes an unreleased session exploring standards, the sounds of Coltrane and some truly wild improvisations. A top treasure for jazz-heads.

Review: The Allman Brothers Band's final concert, performed on October 28, 2014, at New York's Beacon Theatre, is now being celebrated with the release of Final Concert 10-28-14, available as a 3xCD box set. Curated by Warren Haynes, the remastered recording spans 29 tracks and includes a 16-page booklet with exclusive photos and liner notes. The concert, divided into three sets, shows the band's extensive legacy, featuring classic tracks like 'Mountain Jam', 'One Way Out', 'Statesboro Blues' and 'Melissa'. Founding members Gregg Allman, Jaimoe, and Butch Trucks were joined by Haynes, Derek Trucks, Marc Quinones and Oteil Burbridge, making for a lineup that masterfully honoured the band's roots. The Allman Brothers Band's signature blend of southern rock and blues. This is a fitting farewell to their storied career with both nostalgia and exceptional musicianship. The final track, 'Trouble No More', closes the set and the band's legacy on an emotional note.

Review: America is a legendary rock trio that burst onto the scene in the early 70s with their iconic debut America (Friday Music 9001), featuring the hit 'A Horse With No Name.' Their success continued with chart-topping singles that led Warner Records to release their first best-of collection, History/America's Greatest Hits in 1976. Produced by George Martin, the album included hits like 'Ventura Highway,' 'Tin Man,' 'Sister Golden Hair' and 'Lonely People.' This multi-platinum compilation is now available for the first time on Translucent red vinyl with fine mastered from original tapes by Joe Reagoso that preserve the warmth of their classic original tracks.

Review: The Ancients, an intergenerational coalition of free jazz masters, deliver a powerful and evocative double LP that resonates with the spirit of improvisation and collective expression. Isaiah Collier, William Hooker, and William Parker, brought together by Parker for concerts in conjunction with the Milford Graves exhibition at the ICA Los Angeles, weave a tapestry of sound that draws upon the rich legacy of free jazz while forging their own unique path. Across two LPs of long-form improvised sets, recorded in Los Angeles and San Francisco, the trio explores the sonic terrain first charted by the likes of Cecil Taylor and Ornette Coleman, their interplay showcasing some electric, spontaneous creation. Collier's tenor saxophone soars with fiery intensity, while Hooker's drums crackle with a restless energy and Parker's bass anchors the music with a deep, resonant foundation. This is music that speaks to the heart of the human experience, a tribute to the power of improvisation to transcend boundaries and connect us to the deeper currents of life.

Review: Today, pop stars use visual vehicles to further their reach, image and reputation every day, but back when A Hard Day's Night arrived, the idea of casting a band in a musical movie in which they played themselves, produced simultaneously with a studio album, was still more than novel. Largely unproven territory, the runaway success of this concept would go on to set a precedent. 36 hours in the lives of the group as they prepare for a TV performance, it not only breaks the theatrical fourth wall, it speaks to what was then an emerging appetite among fans to see more rounded, 3D renditions of their idols - now mainstreamed. Inspiring countless TV and cinema releases, from Ferry Cross The Mersey with Gerry and the Pacemakers, to the Monkees' series, A Hard Day's Night remains one of the best examples of the Beatles as revolutionary pop stars.

Review: James Bernard's 1994 ambient masterpiece Atmospherics is now 30 years old. To mark its anniversary the landmark record has been meticulously remastered and paired with a brand-new, track-by-track reinterpretation by Bernard's longtime friend and collaborator, bvdub. Together, these works span four slabs of wax and offer a profound exploration of ambient soundscapes that honour the original while also presenting some fresh, emotive perspectives. A must-have work for your ambient section.

Review: Canadian rock outfit Big Wreck celebrates this year's Record Store Day with the first-ever vinyl release of their acclaimed Albatross album. This deluxe anniversary edition includes a bonus track, 'Fade Away', as well as alternate versions by Eric Ratz and Ian Thornley, plus a live recording from Suhr Guitar Factory. The original album came back in 2012 and saw Albatross earn chart-topping success and critical praise for its soaring guitar work and powerful vocals. They make just as much of a mark now, more than a decade on and with the addition of the new cuts, this reissue brings all new depth to the record.

Review: Art Blakey and the Jazz Messengers' unforgettable 1958 concert at Club Saint Germain in Paris is finally available in full, spread across three LPs in red, white and blue, paying homage to France. This set brings together Lee Morgan's searing trumpet, Benny Golson's soulful sax, Bobby Timmons on piano and Jymie Merritt's steady bass, with Parisian local Kenny Clarke joining on drums for 'A Night in Tunisia.' The energy is electric and it's easy to hear why this performance took home the 1959 Grand Prix du Disqueiit's jazz history in action.

Review: To mark the 25th anniversary of Hooray for Boobies, the Bloodhound Gang have reissued their infamous third album on splatter-coloured 180g vinyl, giving fans another chance to dive into its wild mix of genres and humour. Originally released in 1999, this album catapulted the band to worldwide success, selling over four million copies and topping charts everywhere. Musically, it's a collision of rap-rock, punk, and electronic beats, packed with cheeky, often absurd lyrics that have become the band's signature. 'The Bad Touch', the album's standout hit, is driven by a playful, catchy synth line that pairs perfectly with its notorious lyrics. Elsewhere, 'The Ballad of Chasey Lain' blends rock energy with humorous storytelling, while 'Mope' is an eclectic mix of samples, pulling from sources as diverse as Metallica and Pac-Man. This reissue also features three rare remixes, including a hyperactive Eiffel 65 version of 'The Bad Touch', a sultry take on 'The Ballad of Chasey Lain' and Pet Shop Boys' extended remix of 'Mope'.

Review: Calling on major chords for their riffs, emotional angst for lyrical delivery and motoring juggernauts for basslines, the driving rhythms of Boilermaker were hard to ignore once you found them back in the 1990s. Emerging from the San Diego guitar scene at a time when Gen X was obsessed with post-hardcore, the trio - Terrin Durfey, Tim Semple, and Richard Sanderson - described their counterpoint as 'Leucadia-core'. If you need a lesson in what that means, Not Enough Time To Get Anything Halfway Done is probably the best place to begin. Three albums, a stack of singles and rarities. In total, 41 tracks spread over a sprawling four LP box set with a 24 page book to read while immersing yourself. And yes, there's a test at the end to check you actually paid attention. (Juno legal disclaimer: there is no test).

Review: Boz Scaggs' 1969 album, blending Southern rock, blues and r&b, wasn't a commercial success but it set the stage for his future successes. Recorded at Muscle Shoals with co-producer Jann Wenner, the album captures the raw energy and magic of a remarkable collaboration. Scaggs' smooth, mellow vocals blend seamlessly with the legendary Muscle Shoals rhythm section, led by Duane Allman's iconic guitar work. The album spans multiple genresifrom country-tinged 'Waiting for a Train' to the sultry blues of 'Loan Me a Dime'. The latter, in particular, became a standout, with its extended, fiery guitar solos and a signature groove that captured the imagination of FM rock stations. The album's charm lies in its organic, unpretentious feel, as Scaggs and the musicians create something truly magical over six days of spontaneous recording. It's a celebration of Southern soul with a West Coast twist and it remains a fascinating glimpse into an artist finding his voice in the heart of Muscle Shoals.

Review: BTS celebrates a milestone with the release of their 2014 Japanese debut album Wake Up on vinyl, commemorating its tenth anniversary. This limited edition double album set on clear vinyl marks a significant moment in BTS history, showing their journey from K-POP stars to global superstars. Featuring iconic tracks like 'No More Dream - Japanese Ver.-' and 'Boy In Luv - Japanese Ver.-,' the album also includes exclusive Japanese songs and alternate versions previously unavailable on vinyl. This release not only pays homage to BTS's early days but also highlights their enduring popularity and musical evolution over the past decade. Wake Up on vinyl offers a nostalgic and collectible glimpse into BTS's formative years and their groundbreaking impact on the music industry.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


The debut studio album from Brigend crew Bullet for My Valentine emerged in 2005 on Visible Noise Records and catapulted the Welsh band to success, going on to sell more than two million copies worldwide. Here it is again, celebrating (almost) two decades of life in a flurry of hard, jagged riffs and distinctively screamo-flavoured vocals courtesy of Matthew Tuck. The band reputedly formed to cover Metallica and Nirvana songs and while their sound doesn't ape either of them, they all share a cunning knack for combining memorable hooks and sonic brutality. Choose your Poison.

Review: The debut studio album from Brigend crew Bullet for My Valentine emerged in 2005 on Visible Noise Records and catapulted the Welsh band to success, going on to sell more than two million copies worldwide. Here it is again, celebrating (almost) two decades of life in a flurry of hard, jagged riffs and distinctively screamo-flavoured vocals courtesy of Matthew Tuck. The band reputedly formed to cover Metallica and Nirvana songs and while their sound doesn't ape either of them, they all share a cunning knack for combining memorable hooks and sonic brutality. Choose your Poison.

Review: With Buzzcocks reforming in 1989 after a near-decade of inactivity, they would get to work on new material with their fourteen year gap follow up to 1979's A Different Kind Of Tension with 1993's Trade Test Transmissions, while touring in abundance to make up for lost time. The peak of this resurgent reformation era is highlighted as such in their cult status live album French; captured at L'Arapho Club in Paris on April 12th 1995. Boasting a 20-song set made up of classic fan favourites such as 'I Don't Mind' and 'Get On Your Own', as well as latter-day bangers including 'Isolation' and 'Energy', the collection notably omits the ten tracks from the band's three subsequent encores of the night, released separately in 1999 as originally the fan club-only available Encore Du Pain. While the two have been previously paired together on the French et Encore Du Pain double live CD compilation, this single LP reissue is of the initial French setlist, while the same label has repressed Encore Du Pain in tandem for completionists to hoard the entire epic two part set on wax.

Review: This is a delightful celebration of classic cartoon scores that arrives for a special Black Friday 2024 release. The collection showcases the genius of composers like Carl Stalling and Milt Franklyn, whose music defined the Looney Tunes and Merrie Melodies era. Orchestral brilliance and playful synchronisation bring timeless characters like Bugs Bunny and Daffy Duck to life. With all new remastered tracks, the album highlights intricate arrangements and whimsical motifs that revolutionised animation scoring. Perfect for collectors and nostalgia enthusiasts alike, this one honours the artistry behind some of the most iconic and enduring cartoon soundtracks in entertainment history.

Review: Who can argue with them for wanting to repress this beauty? It's quite simply one of the best pop albums of all time. Tracy Chapman's voice is inimitable and she is, frankly, a genius. The timeless yet nostalgic 'Fast Car' is the unmistakable standout here - be teleported back to late-80s Britain (when it was a ubiquitous presence in public spaces) but know that if an emerging artist wrote that today it would still be a number one. Strictly speaking this is a 37th anniversary reissue - but who's counting? The label, with Chapman herself involved, have gone to meticulous steps to ensure it's an audiophile delight: Heavyweight vinyl and sourced from the analog master. The trusty Bernie Grundman, who is one of the best mastering engineers in the world, was the honoured hire in bringing this work of art back to life.

Review: The Church's 1985 release marks a pivotal moment in their evolution, showcasing a more collaborative songwriting approach. The album features a rich tapestry of jangly guitars and atmospheric production, with tracks like 'Myrrh' and 'Tantalized' exemplifying their signature sound. The addition of strings and horns adds depth, creating a warm, organic feel. This work is a significant contribution to the alternative rock genre, highlighting the band's growth and experimentation.

Review: From 1989 to 1999, and again from 2000 to 2009, MTV Unplugged hosted and broadcast some of the greatest live rock performances of all time. Eric Clapton's 1992 appearance on the late-night show was the *sine qua non* of the Unplugged format before Nirvana and Mariah Carey, with the corresponding live album released through Reprise going on to sell over 26 million (!) copies worldwide. From the contemporaneous 1992 hit single 'Tears in Heaven' eviscerated in bare live bones, to an acoustic version of the endurer 'Layla' and later album tracks 'My Father's Eyes' and 'Circus', us pro musos do certainly recommend this one for new Clapton fans: start here, and see where the obsession takes you.

Review: Eric Clapton's Crossroads Guitar Festival 2023 captures a thrilling live showcase of guitar virtuosity, celebrating a return after a four-year hiatus. With Bill Murray as Master of Ceremonies, this event brought together an exceptional lineup, including Joe Bonamassa, Gary Clark Jr., Sheryl Crow, H.E.R., Christone "Kingfish" Ingram, Santana, John Mayer and more. Across four discs, more than 50 tracks reveal electrifying renditions of blues classics, rock anthems and American Songbook standards, with Clapton himself frequently joining his peers onstage. Highlights include collaborations with the Del McCoury Band, Bradley Walker and stirring performances of 'Eight Miles High' with Roger McGuinn and 'Bluebird' with Stephen Stills. Spanning multiple genres and generations, the set offers a testament to the unifying power of the guitar, underscoring Clapton's influence in gathering top talents from across eras. This release not only chronicles a memorable night for fans but also reinforces the legacy of blues guitar as it finds fresh, dynamic life through each performer. Crossroads Guitar Festival 2023 is essential for blues and rock fans alike.

Review: American saxophone player and composer Clifford Jordan's 1990s Maple Shade Records albums are well thought of for their high-quality ideas. This release features a 1987 live quartet performance from a Baltimore jazz club in which Jordan delivers a mature, lyrical and swinging set encompassing standards like 'Round Midnight' and 'Don't Get Around Much Anymore' alongside his original compositions. The recording was meticulously captured with minimal microphones and high-quality cables so it achieves remarkable realism while blurring the line between live performance and studio recording. This is a definitive glimpse into Jordan's artistry at the height of his career.

Review: cLOUDDEAD's debut album, a compilation of six 10" EPs released between 2000 and 2001, remains a quintessential example of abstract hip-hop. This expansive 3xLP, characterised by its dense, enigmatic soundscapes and avant-garde lyrics, has profoundly influenced a range of sub-genres such as cloud rap, hauntology, and lo-fi hip-hop. The trioiWhy?, Doseone, and Odd Nosdamiemerged from Cincinnati's vibrant underground scene, marked by events like Scribble Jam, and later moved to the Bay Area, where they helped establish the Anticon collective. Despite their shift to the West Coast, their Midwestern origins continued to shape their sound, rooted in the eclectic and experimental spirit of their early days. As noted in Chris Martin's liner notes, cLOUDDEAD's music was a unique blend of idiosyncratic vision and audacious experimentation. Each EP in this collection offers a distinct auditory experience. Tracks like 'Apt. A' and 'And All You Can Do Is Laugh' are emblematic of their surreal style, combining nonsensical lyrics and unconventional production. Nosdam's production seamlessly transitions from ambient textures reminiscent of Flying Saucer Attack to gritty drum breaks and esoteric samples. Restored by Nosdam and accompanied by a poster, this edition of cLOUDDEAD's pioneering sound, is the ideal version to get.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


This 30th-anniversary reissue of a key experimental release is a journey into the darker realms of electronic music, showcasing the duo's exploration of ambient, industrial and glitch-inspired soundscapes. The release features a stark contrast between the rhythmic, almost club-ready track, infused with danceable energy and the more experimental, glitch-heavy compositions that delve into an unsettling, ritualistic atmosphere. The latter, considered one of the duo's most daring works, uses manipulated sounds, haunting textures and a pervasive sense of sonic unease to create a deep listening piece. The reissue compiles rare material, including previously unreleased tracks, alongside the duo's final appearance under this project. Fans of avant-garde electronic music will appreciate the unique blend of rhythmic elements and abstract textures. While some may prefer later works from the duo, this collection remains a fascinating piece for those drawn to experimental, atmospheric music that pushes the boundaries of sound and composition.

Review: The music from Apocalypse Now is a compelling piece of the film's unique atmosphere, composed by Carmine Coppola and his son, Francis Ford Coppola. This remastered gatefold 2xLP presents a score that is anything but conventional. Featuring bold electronic experimentation, the music complements the film's depiction of chaos and inner turmoil. Tracks like 'The Delta' and 'The Dossier' create a meditative, eerie backdrop, while 'Orange Light' and 'Voyage' highlight the hallucinatory journey of its protagonist, with the latter infusing a touch of psychedelic guitar. While it's not a traditional, action-driven score, the pulsating synths of 'Nung River' and dissonance of 'Chef's Head' bring tension to the forefront. Its final moments with 'Finale' bring reflection to a movie that explores the boundaries of duty and sanity. Although challenging at times, the music's blend of synthetic and natural elements provides a fascinating listen, especially for those open to a bold 1970s electronic sound.

Review: On their latest release, Crippled Black Phoenix takes their signature mix of atmospheric rock and melancholy to new heights. The band's blend of brooding, cinematic soundscapes and haunting melodies draws you in, but it's the emotional intensity that really grips. 'We Forgotten Who We Are' pulses with a raw energy, while 'Song for the Unloved' taps into a quiet despair that lingers long after the track fades. There's a sense of reinvention on this releaseifamiliar elements are reworked with fresh perspective, making it feel like both a reflection and a bold step forward for the band.

Review: This 1977 album marked a sublime chapter in the trio's career, showing their unparalleled vocal harmonies and masterful musicianship. Often hailed as their most accessible album, it seamlessly blends folk-rock sensibilities with heartfelt lyricism. Reissued on pristine 180-gram vinyl, the warmth of this record shines through every groove, providing a listening experience as timeless as the music itself. Opening with 'Shadow Captain', the outfit sets the tone with rich vocal layers and Russ Kunkel's understated yet captivating percussion. Tracks like 'See The Changes' and 'Carried Away' exemplify their ability to create beauty through simplicity, with Nash's songwriting and Crosby's harmonies reaching extraordinary heights. The album's emotional centerpiece, 'Cathedral', is a profound and reflective masterpiece, echoing the introspective brilliance of their earlier work while standing out as one of Nash's crowning achievements. Songs like 'Anything At All' and 'Just A Song Before I Go' further underscore the trio's knack for blending authenticity with melodic perfection. Even with moments like 'Fair Game' and 'I Give You Give Blind' slightly veering toward experimentation, the album remains cohesive and compelling. From the poignant storytelling to the impeccable sound quality of this vinyl reissue it endures as an essential in the folk-rock canon.

Review: Iconic recordings from 1959 blessed with s a fresh, vibrant energy. The opener, with its elegant trumpet lines and meticulous rhythm section, feels like a masterclass in restraintibuilding from delicate intricacies to full-blown, fluid improvisation. As the album progresses, each track shows Davis's intuitive connection with his bandmates, effortlessly weaving complexity into accessible melodies. The slow-burning 'Blue in Green' stands out, with its haunting beauty and rich, emotive depth. Throughout, the album is a showcase of Davis's transformative approach to jazz, fusing cool jazz elements with the raw emotional power that defined his later work. A definitive, timeless piece.

Review: April 10, 1970. Miles Davis, fresh from his Jack Johnson sessions and with a new face in the band, soprano saxophonist Steve Grossman, take the stage at San Francisco's Fillmore West and set about sparking a revolution in jazz by fusing it with rock and funk elements. Captured on Black Beauty: Miles Davis at Fillmore West, this performance is one for the agesifull of explosive improvisation, raw energy and a palpable sense of transformation. The album, finally reissued on vinyl after years of being locked away in Japan, is a time capsule of a moment in jazz history where tradition was discarded and a new frontier was being built. With his usual crewiGrossman, Chick Corea on keys, Dave Holland on bass, Jack DeJohnette on drums, and Airto Moreira on percussioniDavis steered the ship into turbulent, unpredictable waters. It's all about the groove, the shifts in rhythm, and the untamed trumpet blasts that echo through the room like firecrackers. Tracks like 'Miles Runs the Voodoo Down' - from the milestone Bitches Brew album, which had come out a mere month before - and 'It's About That Time' tear apart the old jazz playbook, plunging deep into rock territory while still holding on to the open-ended freedom of improvisation. This is the raw, unfiltered jazz that would come to define the electric period of Davis' caree - a live-wire snapshot of a jazz legend finding new possibilities in real-time.

Review: Captured live in 1974, this performance at Carnegie Hall showcases Miles Davis at the height of his electric fusion era, blending jazz with rock in a fierce, exploratory manner. The show features the monumental 'Moja' and 'Wili,' each spread across two parts, with the band improvising freely and building intricate, pulsating rhythms. Davis's trumpet and organ create a swirling, unpredictable sound, while the guitar work from Pete Cosey and Reggie Lucas adds texture and energy. Tracks like 'Tatu' and 'Nne' display Davis's shift towards African-inspired sounds, experimenting with complex rhythms and haunting melodies. This is a tour de force, an unfiltered snapshot of Davis's creative genius.

Review: As it is the month of love - or another overbearingly capitalist instruction to treat people for the sake of it, depending on your viewpoint - why no indulge in some loved up jazz from Miles Davis? My Funny Valentine captured delicate ballads and was met with immediate critical successes. It is an album that demonstrated profound emotion with minimal fuss and represents a high point in Miles Davis' early 1960s career, capturing the excitement and sound of a road-honed group at its peak. Herbie Hancock's piano intros, George Coleman's melodic tenor, Ron Carter's steady bass, and Tony Williams' unexpected drumming contributed to an unforgettable collective sound.

Review: ***B-STOCK: Slight surface mark on the record sleeve***


April 10, 1970. Miles Davis, fresh from his Jack Johnson sessions and with a new face in the band, soprano saxophonist Steve Grossman, take the stage at San Francisco's Fillmore West and set about sparking a revolution in jazz by fusing it with rock and funk elements. Captured on Black Beauty: Miles Davis at Fillmore West, this performance is one for the agesifull of explosive improvisation, raw energy and a palpable sense of transformation. The album, finally reissued on vinyl after years of being locked away in Japan, is a time capsule of a moment in jazz history where tradition was discarded and a new frontier was being built. With his usual crewiGrossman, Chick Corea on keys, Dave Holland on bass, Jack DeJohnette on drums, and Airto Moreira on percussioniDavis steered the ship into turbulent, unpredictable waters. It's all about the groove, the shifts in rhythm, and the untamed trumpet blasts that echo through the room like firecrackers. Tracks like 'Miles Runs the Voodoo Down' - from the milestone Bitches Brew album, which had come out a mere month before - and 'It's About That Time' tear apart the old jazz playbook, plunging deep into rock territory while still holding on to the open-ended freedom of improvisation. This is the raw, unfiltered jazz that would come to define the electric period of Davis' caree - a live-wire snapshot of a jazz legend finding new possibilities in real-time.

Review: Spiritmuse Records presents Journey to Nabta Playa, the dialogic result of Angel Bat Dawid and multidisciplinary artist Naima Nefertari, as they team up to honour the ancient Nubian astrological site of the same name. An ancient Neolithic site in Egypt's Nubian Desert predating Stonehenge, Nabta Playa incorporates a stone circle whose lithic configuration aligns with celestial events. Fittingly, then, this clash-of-titans record astrologises celestial electronics and divines ancestral predestinations, sewing a starry sonic tapestry - in Bat Dawid's terms "this is not just an album, it's a constellation". Picking up where Don and David Ornette Cherry left off with 'Bishmillah', and carrying out such further original, summative sonic burial and resurrection rites such as 'Black Stones Of Sirius' and 'Procession Of The Equinox', we hear a dance of featuring flute, clarinet, and vibraphone, and enraptured voice.

Review: Bands often work so hard to get the right producer and sound as slick as possible. But sometimes those initial ideas with fewer cooks in the kitchen sound a lot more exciting. This collection of Devo studio demos and unreleased tracks culled from cassettes, reel-to-reel tapes, multi-tracks and DATs - spanning their independent label era - is no exception. It's raw, rough and ready in a way that takes you back to the 70s and makes you want to dig out some double denim. Re-recorded in a state-of-the-art studio you'd probably feel very much in the present. It's a mammoth collection with over two-and-a-half hours of material and was originally released in 2000, but this four LP deluxe version is the most eye-catching way to spend time digging through the New Wave icons' stuff and understand why they were admired by the likes of David Bowie, Iggy Pop and Neil Young at this early stage of their career.

Review: Jazz audio arborist Dr Tree is itself a multi-branched organism, having first emerged from the (urban) forests of New Zealand as the inosculated union of session musicians Frank Gibson Jr. and Murray Macnab. After catching the attention of EMI, the pair released the eponymous Dr Tree in 1976, which came as an all-instrumental prog excursion into territories already settled by the likes of Weather Report and Return To Forever, yet not fully developed until Dr Tree's prognosis. These roots hold a tight grip; star album cuts 'Transition', 'Affirmation' and 'The Drum' demonstrate a complete, master musicianship, and combine this with studio trickeries of the weirdest and most arcane ilk, making for an unforgettable prog magnolia of minimally treated sound, but still grandly impressive proportions.

Review: ***B-STOCK: Box damaged, product in perfect working order***


The deluxe edition of Drive-By Truckers' Southern Rock Opera is a welcomed new package for their standout album. Originally released in 2001, this ambitious double album delves into themes ranging from the politics of race to 1970s stadium rock, all through the lens of Southern rock legends Lynyrd Skynyrd. New West Records' remixed and remastered edition elevates the album's sound quality, bringing clarity and depth to the intricate storytelling and powerful instrumentation. The resequenced tracks ensure a cohesive listening experience, maintaining the narrative flow while enhancing the album's sonic fidelity. The standout feature of this deluxe edition is the third disc, which includes multiple bonus tracks. Among them is the intriguing 'Mystery Song,' an impromptu recording discovered during the remixing process, adding a unique, spontaneous element to the collection. Additionally, tracks like 'Birmingham' and 'Moved' are thoughtfully integrated into the vinyl format, preserving the story's integrity while optimising sound quality. The special new edition, featuring a foil-stamped rigid slipcase and a 28-page book with spot gloss treatment, enhances the album's physical appeal.

Review: Emika's Vega:Trilogy is a bold, ambitious sonic journey that blends meditation, sacred geometry and a quest for deeper meaning. Recorded during the isolation of the lockdowns, Emika poured her creativity into crafting a work that transcends genres. Drawing inspiration from the northern star Lyra, Vega combines electronic, classical and avant-garde elements, with Emika's distinctive vocals anchoring the atmospheric soundscapes. Collaborations with luminaries like Horace Andy, Liela Moss and Rodhad add unique layers to the already rich fabric of the album. The three vinyl LPs are presented in a sleek black cover with a silver foil logo, making the physical release as captivating as the music itself. Since her early days in Bristol's bass music scene and her groundbreaking work as a sound designer, Emika has carved out her own niche. Vega is the latest chapter in her journey, offering a dynamic blend of electronics, neo-classical compositions and her signature vocal style. A truly introspective album that captures Emika's evolution as an artist and visionary.

Review: Ella Fitzgerald will forever be a legend in the jazz world thanks to her unparalleled vocal talents and ability to infuse jazz with deep emotion. Released in 1962 and reissued here, Take Love Easy pairs Fitzgerald with the exceptional pianist Bill Evans and together they make for a sophisticated and intimate atmosphere. Featuring a selection of lush ballads and smooth, understated jazz standards, this record highlights Fitzgerald's delicate phrasing and expressive delivery with songs like 'Don't Be That Way' and 'Gee Baby, Ain't I Good To You'.

Review: This album wonderfully celebrates Flatland Cavalry's ten-year journey while setting the stage for their future. It is an essential listen with more than 15 reimagined fan-favourites from their acclaimed releases including 'Come May', 'Humble Folks', 'Homeland Insecurity', 'Welcome to Countryland', 'Songs to Keep You Warm', and 'Wandering Star' alongside four brand-new tracks that showcase the band's signature style. Along the way, these tunes span everything from heartfelt ballads and energetic jams to timeless songwriting and always with masterful musicianship on show. Its mix of nostalgia and fresh energy means Flatland Forever captures the essence of the band's journey so far.

Review: After more than a decade, Phili star Freeway reunites with Seattle super-producer Jake One for their second full-length collaboration. Known for his timeless, versatile beats that always somehow resonate with both underground and mainstream audiences, Jake One's production provides the perfect backdrop for Freeway's gritty lyrics here. Next to those two, the record features an impressive lineup of guest appearances including Black Thought, Jadakiss, Conway the Machine, Sauce Walka, Peedi Crack, Scholito and Symba. Together, they deliver a powerful, cohesive project that highlights the enduring chemistry between Freeway and Jake One with hard-hitting beats and sharp, memorable rhymes.

Review: Ace Frehley's 1989 recording arrives at a curious crossroads in his career. It's bold, swaggering, and drenched in late-80s hard rock sheen, but there's a thread of defiance running through its polished surface. Frehley, who had long stood in the shadow of his former band KISS, approaches the project with the energy of someone eager to remind the world of his prowess. His trademark guitar flourishes are as electrifying as everisharp, crunchy and steeped in effortless cool. Guest spots from former Kiss drummer Peter Criss and Skid Row members inject bursts of collaborative dynamism, making this not just a solo venture but a communal flex of rock-and-roll camaraderie. Frehley sounds like a man with something to proveiand he delivers, guitar in hand, unapologetic and relentless.

Review: This release saw Genesis balancing their progressive rock origins with a more radio-friendly sound when it hit in 1983, creating a seamless fusion of complexity and accessibility. Tracks such as 'Mama' - the first single that heralded the album's arrival - bring an eerie edge, with Phil Collins' emotive delivery matched by brooding synths and steady percussion. By contrast, 'That's All' offers a buoyant, piano-led melody that feels both light and intricate, showing the trio's knack for crafting memorable hooks without losing their musical depth. The instrumentation remains sharp and purposeful throughout, highlighting the group's ability to adapt their style while maintaining a sense of innovation.

Review: The 1950s marked the rise of Japan's modern jazz scene, with the Big Four, helmed by George Kawaguchi, playing a pivotal role. Over the years, the ensemble saw shifts in its lineup but maintained its influence on Japanese jazz. Originally released in 1969 as part of Victor's Japanese Jazz series, George & Sleepy captures both the essence and evolution of this revered group. While tracks like 'Lover' and 'Charade' reflect a sense of nostalgia, echoing the Big Four's golden era, the album is anything but a mere look back. Pieces like 'Tuesday Samba' offer a polished, contemporary groove, while the rhythm-forward 'Vietnam' adds an intriguing exotic flair. The balance between timeless jazz sensibilities and forward-thinking arrangements gives this record.

Review: This collection plunges into Godley & Creme's eccentric post-10cc years, a whirlwind of boundary-pushing pop and inventive production. Tracks like 'An Englishman in New York' burst with surreal humour and layered arrangements, showcasing their knack for storytelling through off-kilter melodies. Meanwhile, 'Snack Attack' plays with genre, blending funk-laden grooves and absurdist charm. These songs aren't just quirky diversions-they're windows into the duo's fearless approach to dismantling pop conventions. Packed with vocal harmonies, synth experiments, and a sprinkle of the absurd, this box set is a reminder of how Godley & Creme rewrote the rules for art-pop.

Review: Sharps and Flats, under the direction of Nobuo Hara, has significantly influenced Japan's big band jazz landscape. Their album Little Giant, originally released in 1970 as part of Victor's Japanese Jazz series, remains a key highlight in their extensive catalog. This release features the talents of notable composers and arrangers, including Masao Yagi, Kiyoshi Yamaya, Norio Maeda, and Masahiko Sato, alongside innovative arrangements of works by Oliver Nelson, a close collaborator. The albums intricate and bold arrangements reveal the band's exceptional performance caliber. The track 'Little Giant' radiates coolness, while 'Dark Horse' exudes strength. 'Orbit 8:11' introduces an edgy sound, and 'Flexibility' displays refined sophistication. The musicians deliver a compelling interplay of energy and calm, reflecting the band's versatility. Now reissued on vinyl, this work captures the distinctive charm and skill of Sharps and Flats, presenting an exciting experience for listeners. It's a vibrant representation of adventurous big band jazz that continues to resonate.

Review: Upon its release in 1970, Donny Hathaway's latest album was met with critical acclaim but modest commercial success. The LP showcased Hathaway's extraordinary versatility, blending gospel, jazz, blues and soul into a cohesive whole. It was a rich tapestry of influences, marked by Hathaway's stunning vocal prowess and his ability to craft arrangements that felt both intricate and organic. The album also set the stage for his subsequent works, cementing Hathaway as one of the most important voices of his generation. Tracks like 'The Ghetto' and 'Tryin' Times' revealed his commitment to addressing social issues, while songs like 'Thank You Master' and 'Je Vous Aime' showcased his personal and spiritual depth. In the decades since its release, Everything Is Everything has grown in stature, celebrated as a cornerstone of soul music.

Review: ***B-STOCK: Records very slightly warped***


Kick, the sixth and best-selling 1987 studio album by Australian band INXS, solidified the band's place in music history with its unmistakable sound. This six x platinum-selling album features four U.S. Top 10 singles, including the chart-topping 'Need You Tonight.' Mastered by Ryan K. Smith from an EQ'd Dolby tape copy and pressed at Quality Record Pressings, this 180-gram 45 RPM double LP promises unparalleled sound quality. Pressing 'Kick' at 45 RPM across two LPs significantly enhances the album's audio fidelity. The 45 RPM format allows for wider grooves and more space for the stylus to track the record's intricate details, resulting in a richer, fuller sound. This format minimizes distortion and improves the high-frequency response, delivering clearer vocals, more defined instruments, and a dynamic range that closely replicates the original studio recordings. The result is a listening experience that reveals nuances and depth previously unheard on standard 33 1/3 RPM records.

Album highlights include 'New Sensation', with its infectious guitar riff and vibrant energy, this track is a quintessential INXS anthem that captures the band's blend of rock and dance elements. 'Never Tear Us Apart' is the albums main ballad, featuring Michael Hutchence's emotive vocals and the band's ability to craft songs with deep emotional resonance. The orchestral arrangement adds a layer of sophistication and timelessness. 'Devil Inside', driven by a pulsating bassline and Hutchence's sultry performance, this song epitomizes the band's fusion of rock and funk, creating an irresistibly dark and alluring atmosphere. The album's No. 1 hit, 'Need You Tonight,' features a memorable hook and a seductive rhythm that made it a staple of 1980s pop-rock. The album has plenty of lesser known songs to explore and enjoy as well like the vibrant and catchy 'Calling All Nations'. Produced by Chris Thomas, 'Kick' successfully fused the funk and soul influences of INXS's earlier work with mainstream rock appeal. This reissue by Analogue Productions, with its meticulous mastering and high-quality pressing, ensures that Kick can be experienced in all its glory. Whether revisiting this classic or discovering it for the first time, listeners will appreciate the enhanced audio fidelity and the timeless appeal of INXS's greatest album.