Back catalogue:

Review: Big guitars playing huge hooks at a propellant pace. The Goods deliver their debut EP, which looks to decades worth of garage rock and pop punk heritage for influence, while ensuring the finished tracks are every bit theirs. Retro revivalism this isn't, a veteran singer-songwriter known for sharp lines drafting seasoned talent from his local music scene in order to make something new, this most definitely is. Headed up by Rob Good, a well-known figure in the underground Oakland guitar scene, California, for the three tracks here - and this project - he's called upon rhythm section and human drum machine Paul Wiseman and highly respected session bassist Cherron Arena. The result is an EP that's personal and passionate, and incredibly thoughtful, while also compelling and high octane. A refreshing indie whirlwind.

Review: While The Galileo 7's records are all nostalgic by design - they specialise in making psych-pop and psych-rock that sounds so authentically 1960s that it should come with a Beatle wig and a free tab of acid - few are quite as heady, densely layered or hallucinatory as 2017's Tear Your Minds Wide Open. Here that album is given the expanded reissue treatment. Alongside all 12 tracks from the set - including the squally brilliance of 'The Mask', with its gnarled guitar riffs, Hammond stabs and elongated solos, and the Hendrix-esque 'Your Face Tomorrow' - you get eight bonus cuts. Expect a mix of instrumental mixes, alternate versions, band demos and home recordings.

Review: Indiana singer-songwritern Lisa Germano's 1994 moody dark indie rock masterpiece has been remastered at Abbey Road Studios in London. This expanded edition - released as part of 4AD's Record Store Day spread - includes 'The Mirror Is Gone' and the five-track EP 'Inconsiderate Bitch', making it a bumper version of one of the key albums of the 90s. Germano's voice is a thing of wonder with lyrics that cut through the noise. The sonics underpinning her voice are often sparse and atmospheric, allowing us listeners to really feel the intimacy of feeling. It's no wonder the likes of Eels, Bowie and Iggy Pop called her in to guest on their records.

Review: Quebec City-based singer/songwriter Margaux Suave and collaborator/producer Louis-Etienne Santais earned plenty of praise for their first album as Ghostly Kisses, 2022's Heaven, Wait. It framed the project as a new iteration of dream-pop, with the pair drawing inspiration from melancholic synth-pop, downtempo, hazy indie-pop and lo-fi soul. Sophomore set Darkroom continues in this vein while subtly expanding the pair's sonic horizons. Throughout, they shuffle attractively between string-laden trip-hop ('There Is No More Space'), dreamy two-step pop ('Golden Eyes'), slow-motion, Balearic-tinged synth-pop ('Lonesome Hero'), twinkling deep house-pop ('Calm Down') and orchestrated ambient pop ('Silver Screen').

Review: Immerse yourself in the world of Ginger Root, where Cameron Lew's meticulous craftsmanship shines through. Since 2017, this Southern California multi-instrumentalist, producer, songwriter, and visual artist has drawn a dedicated following with his remarkable albums, films, and global tours. Ginger Root's soundia polished blend of synth-pop, alt-disco, boogie, and soulireflects Lew's Asian-American heritage and love for 1970s and '80s music, including Japanese City Pop and its Western counterparts like French Pop and Philly Soul. Lew's third LP, Shinbangumi, marks his debut on Ghostly International and is set for a 2024 release with an accompanying visual album. This album represents a new chapter for Lew, showcasing his confidence and intention in presenting Ginger Root's definitive sound. Tracks like 'No Problems' and 'Better Than Monday' highlight Lew's signature style, blending diverse genres into cohesive songs. With Shinbangumi, Lew masterfully weaves his influences into a modern and refreshing sound, creating an album that serves as both a nostalgic homage and a bold step forward.

Review: Glass Animals' fourth studio album, I Love You So F***ing Much, arrives in both vinyl and CD formats, with this being the latter. It marks a welcome return almost four years after their chart-topping single 'Heat Waves' which took them to all new levels go global game as the best-selling single of the year. Frontman Dave Bayley's global rise during the pandemic inspired the album but despite the success, testing positive for COVID-19 meant they missed the 2022 Grammys ceremony after being nominated. The record delves into the challenges of fame and is poised to elevate the band to new heights.

Review: Since releasing her much admired debut album 19 Masters in 2022 - an impossible to pigeonhole affair that saw the Canadian-Japanese bassist-turned-solo artist explore her abstract and experimental influences - Saya Gray has kept fans content via a series of low-key (but undeniably interesting) EPs. Here she finally delivers full-length number two, the simply titled Saya, whose genesis can be traced back to a solo trip across Japan accompanied by her acoustic guitar. Musically, it is rooted in folk - bluesy finger-picking motifs, strummed chords and her sweet vocals are an almost ever-present - but it's like no folk album you'll have heard before, with Gray throwing in everything from Tricky style moody trip-hop beats, haunting pedal steel, dark electronics and nods to country, Americana, r&b and atmospheric electronica.