Back catalogue:

Review: Mayhem marks their 40th anniversary with a special Record Store Day vinyl release capturing their cult April 1985 performance in Ski, Norway. This raw, early live set sees the black metal pioneers tearing through covers of Venom and Celtic Frost, which are both bands that shaped their now-legendary sound. Long before becoming icons of extremity and infamy, this recording reveals Mayhem in their formative chaos when they were laying the groundwork for the genre they helped define. Featuring the original lineup in its earliest form, this limited edition pressing is a wonderful bit of black metal history

Review: Dr. Robert of British 80s pop hitmakers The Blow Monkeys and British folk icon Matt Deighton (Mother Earth, Bill Fay, Paul Weller) have formed a new duo and release their album on the not-for-profit Last Night From Glasgow label. Their respective histories - writing really accomplished pop songs and performing in bands with some of the best artists in the history of rock n' roll - raise expectations, but they absolutely smash them. The title-track is a beautiful marriage of pastoral psych folk and glam rock, where there's melodies to spare and affecting, deeply soulful timbres at every turn.

Review: If you're unfamiliar with Dr Robert, we recommend checking out The Blow Monkeys. Robert Howard, as he's credited, formed the iconic new wave and 'sophisti-pop' group in 1981 and his piano keys, bass notes, guitar melodies, vocals and words define the band's sizeable back catalogue. Matt Deighton, meanwhile, might mean Mother Earth, Bill Fay, or Paul Weller to some listeners. He's been involved with them all. Here, the esteemed UK musicians run into one another on Last Night From Glasgow, a treasure of a patron-funded, not-for-profit label out of Scotland's biggest city. It couldn't be a more credible and thoughtful combination. Musically, the result packs crazy levels of musicality, taking a lead from pop, soft, folk and psyche rock to produce a sound which moves between soaring to understated grandeur to deceptively complex and overtly intimate.

Review: Unatoned (stylized as UNATONED) serves as the 11th full-length from Oakland, California groove metal titans Machine Head and marks their first effort to feature drummer Matt Alston and lead guitarist Reece Scruggs (with the latter replacing Decapitated axeman Wac?aw Kie?tyka aka Vogg who worked with the band on 2022's Of Kingdom & Crown). First announced through lead single 'These Scars Won't Define Us'; a self-described "Wu Tang Clan-level thrash collaboration" featuring guest vocals from members of In Flames, Lacuna Coil and Unearth, who will all support the band across their 2025 North American tour in support of the project, the addition of secondary single 'Unbound' showcases mastermind Rob Flynn's knack for marrying venomous heft to anthemic structures, whilst the air of brevity compared to some of their previously far lengthier compositions is indicative of a much more instantaneous sonic delivery (or gut-punch) this time around.

Review: Kali Malone's The Sacrificial Code stands as a defining work of 21st Century minimalism, shaped by years of intensive study. Originally released in 2019, the album emerged from her time at Stockholm's Royal College of Music, where she explored sound, space, and alternate tuning systems under the guidance of organ tuner Jan Borjeson. Stripping composition down to its starkest form, she embraced canons and slow-moving harmonic shifts, slowly but surely stepping into a sound emphasising monumentality. Now, six years later, The Sacrificial Code is reissued via Ideologic Organ, featuring a new 2023 recording of the title track on a 16th-century organ. Malone's self-taught recording techniques bring out the instrument's spirant resonance, creating a time-dilating sound. Less mournful, more tranquil, the new version mirrors the concurrent transformations of music and listeners in step, over time.

Review: Carpet of Fallen Leaves serves as the luminous introduction to Eddie Marcon, a folk-pop project from Eddie Corman and Jules Marcon. The collection takes in more than two decades of intimate, self-released recordings that all bring fragile beauty and melodic grace from Japan's underground psych-folk scene. Gentle guitar, soft organ and deft bass interlace with pristine vibraphone, flute and pedal steel sounds to form sparse and spare yet intricate arrangements. Collaborators like Ikuro Takahashi and Shintaro Sakamoto add their own contributions, and so songs shimmer with a real emotional depth and Eastern charm. Highlights like 'Tora To Lion' and 'Shoujo' inspire quiet wonder while capturing fleeting moments of everyday life with a real tenderness and elegance.

Review: The debut release from Hebrew Israelite vocalist, songwriter and multi-instrumentalist Margeeah Aharon was recorded in July 1983 with the Kingdom Sounds community band in Tel Aviv. This deeply introspective blend of jazz, soul, funk and reggae is guided by Margeeah Aharon's soothing yet resolute voice, imbued with a meditative graceidrifting between the searching melodies of 'Bring The People Home' and the deep-rooted spirituality of 'Rise Black Spirit', while 'Music Is My Love' glows with warmth and devotion. The reflective 'Daughters Of Zion' and the title track capture Aharon's gift for meditative storytelling, where faith and longing intertwine. Decades later, the album's messages of love and self-discovery are as vital as ever.

Review: This electrifying 1973 live broadcast captures Bob Marley & The Wailers during their US tour supporting the Burnin' album. Originally aired on KSAN-FM, the set showcases the legendary lineup of Bob Marley, Peter Tosh, Aston "Familyman" Barrett, Carlton Barrett, Earl "Wire" Lindo and Joe Higgs, all of whom were at the peak of their powers. The album takes in standout cuts from Burnin', including unforgettable contributions from Tosh and the performance follows their short-lived stint touring with Sly & The Family Stone. It's an unfiltered, visceral document of reggae history in the making that reflects the Wailers' seismic impact just before they exploded into international stardom.

Review: US art rockers The Mars Volta's latest project reveals an ambitious dual-disc journey, encompassing their sprawling range of experimentation. Early tracks like 'Fin' and 'Reina tormenta' establish a dense atmosphere, full of the band's signature unpredictability, with fluid transitions between moments of stark aggression and delicate, jazz-inflected interludes. The album's progression is marked by tracks such as 'Mictlan' and 'Nefilbata', where intricate rhythms are paired with surreal, often dissonant melodies, evoking the mysticism and chaos of their thematic inspirations. As the second disc kicks off, 'Celaje' and 'Vocifero' provide a cinematic depth, layering intricate percussion with droning, otherworldly synths, shifting the mood into darker territories before 'Mito de los trece cielos' bursts through with frenzied energy. The reprise of 'Cue the Sun' and the closing track, 'Lucro sucio', bring the journey to a close, suggesting a moment of reflection within the album's labyrinthine structure. While the album's tracklist is as labyrinthine as their sound, what stands out is the way The Mars Volta remain resolutely themselvesieffortlessly blending their psychedelic rock heritage with new, complex influences, creating something fresh, while never losing the raw intensity that made their earlier work so iconic. This album feels less like a return and more like a rediscovery of what makes them so vital.

Review: 1997's Slow Traffic to the Right found Bennie Maupin navigating between cerebral jazz and deep funk with style and ease. Though generally known for his abstract leanings and serious musical demeanour, here he showed a lighter side - not least because he is actually smiling on the album cover - while diving into grooves shaped by his time with Herbie Hancock's Headhunters. With help from rhythm masters like Mike Clark and Paul Jackson, Maupin swaps out ECM austerity for signature Oakland bounce, so tracks like 'It Remains to Be Seen' and 'You Know the Deal' excel with newfound swagger without abandoning his jazz roots. It's a compelling pivot into accessible, funky and smart jazz soul.

Review: Welsh noise-rock royalty Mclusky make their decrepit return on their majorly anticipated fourth album The World Is Still Here & So Are We, marking their first full-length in over two decades, following on from 2004's The Difference Between Me & You Is That I'm Not On Fire. While the Cardiff legends have reformed for brief reunion runs in the past, this time they seriously mean it, revealing their first taste of new material in 19 years through their 2023 EP Unpopular Parts Of A Pig, with the title-track and 'The Digger You Deep' both announced to be featured on their (at the time) as-of-yet unannounced comeback record. Arriving courtesy of Ipecac Recordings, the outsider-rock label ran by vocal absurdist Mike Patton (Faith No More, Tomahawk, Mr. Bungle) and working in the past with the late, great Steve Albini, with the band even supporting for Shellac one fateful night in London's Scala, the chaotic noise-merchants haven't lost one tooth of their bite or snarky cynicism during their long respite, made abundantly clear on blistering lead single 'Way Of The Exploding Dickhead'.

Review: Cardiff noise-rock legends Mclusky make their long-awaited return with the highly anticipated The World Is Still Here & So Are We. Serving as their fourth full-length and first since 2004's The Difference Between Me & You Is That I'm Not On Fire, the album comes following numerous sparse reunion shows and tours since their initial disbandment two decades prior. First revealed through the release of the Unpopular Parts Of A Pig EP during the latter half of 2023, which would mark their first newly recorded output in 19 years, both the title-track as well as 'The Digger You Deep' were said to be the first tastes of their fourth LP, now making good on that promise with a release set for distribution via Ipecac Recordings, the label of musical absurdist Mike Patton (Faith No More, Mr. Bungle). Having worked in the past with the late, great Steve Albini, even opening for Shellac one fateful evening in London's Scala, the iconic noise-merchants seemingly haven't lost an iota of their bite or shitheaded cynicism during their time away, evidenced as such as in the blistering lead single 'Way Of The Exploding Dickhead'.

Review: Charif Megarbane, the Beirut-based multi-instrumentalist and composer, stretches his sonic vocabulary on this sprawling new full-length, a genre-hopping journey that draws as much from the Lebanese coast as it does from the wider diaspora. Where his earlier work painted intimate portraits of local life, this one looks outwarditoward cultural entanglement, exile, and exchange. 'Hanadi' kicks things off with a sax-led, Somali-inspired groove, while 'Dreams of an Insomniac' drifts through hazy keys and fluttering violin. 'Al Dollarji' recalls his signature Mediterranean funk, full of ornate strings, but 'Al Bahriye' disrupts the flow with hip-hop motifs and vocal samples. Collaborations feel purposeful: 'Helia', with Swedish composer Sven Wunder and the Stockholm Studio Orchestra, layers lush cinematic strings into Megarbane's idiosyncratic palette. Even miniature pieces like 'Sfiha' or 'Preamble to the Conclusion' feel essential, punctuating the record's narrative of displacement with clarity and warmth. It's a collection that resists linearity, folding nostalgia and innovation into a rich, borderless soundian informal transmission between traditions, cities and moods.

Review: Veteran Wackie's artist and reggae don Coozie Mellers returns with a fresh ten-track long player that bridges the label's deep roots heritage with modern reggae sensibilities. It blends crisp digital rhythms with heartfelt lovers' rock and roots textures and features the standout track 'You Move', which was previously released as a 10" single in 2015. Mellers' vocals are beautifully soulful and glide over the smart dubwise arrangements and bring a mix of both warmth and grit, with jams like 'Special Friend' unfurling slowly and seductively and 'Your Love Is Dangerous' being sentimental heart swellers.

Review: Pantechnicons of Philadelphia soul, Harold Melvin & The Blue Notes reached their musical peak with Teddy Pendergrass between 1972 and 1975. Their 1975 album Wake Up Everybody hears Pendergrass' last vocal contribution to a band before he went solo; the record is filled with thought-provocations and gnomic lyrics, and became famous more by way of its covers than its originals. Returning the favour, 'Wake Up Everybody' was later covered by John Legend & The Roots, while 'Don't Leave Me This Way' became a disco classic thanks to the vamping vocal verves of Thelma Houston. This 750-copy 50th anniversary repress now comes with a special bonus: a rare 11-minute remix of 'Don't Leave Me This Way' by remixing pioneer Tom Moulton.

Review: Melvins' back catalogue is so strong that they could make a living just re-releasing the hell out of it. But Melvins' Buzz Osborne is a true punk and has such an unrelenting passion for music that they will never stop. The good thing is that he is under no illusions that he's great... Melvins in 2025 sound absolutely incredible, like Black Sabbath good. The line-up for this album takes things back to 1983 as the band's original drummer Mike Dillard makes a relatively rare appearance. It's only the third album he's made with Buzz Osborne, but absolutely is it gold when it happens. Dillard famously played in a short-lived pre Nirvana group with Kurt Cobain called Fecal Matter and there's certainly parallels to Nirvana's frantic approach to drums on this album. In terms of the rest of the music it's tuneful in a heavy way and it's that balance between the two that was the cornerstone of grunge and you can hear how Melvins became such a prevalent influence, playing a role in shaping the sound of Nirvana, Soundgarden and countless others.

Review: The trailblazing godfather of grunge, Buzz Osborne, is the sole constant member of Melvins, but he's not burned his bridges. He's invited back original drummer Mike Dillard (with who he founded the band in 1983), along with Void Maines and Ni Maîtres, for the third Melvins 1983 album, the previous two being Tres Cabrones (2013) and Working With God (2021). They're on the form of their life with the new album; it is ferocious and exhilarating. A standout is the lead single 'Thunderball', which is a celebration of the drums. You can hear Dillard hitting his snare with unparalleled force and nailing countless fills. Meanwhile, Osborne's melodic and heavy guitar playing strikes a perfect balance. Vocally, Osborne has the highest level of conviction; he truly belies his years. And with Black Sabbath calling it a day very soon, we need Melvins 1983 more than ever.

Review: This unmissable two-disc bundle nets Metallica's explosive live performances at the Seattle Center Coliseum on 29-30 August 1989, during their legendary Damaged Justice Tour. Widely regarded by fans as among of the band's finest shows, this tearout time capsule boasts a stellar setlist, including 'Seek & Destroy', 'For Whom the Bell Tolls', 'Creeping Death', 'Battery', 'Master of Puppets' and 'The Thing That Should Not Be'. Unleashed to the world like a cageful of batwinged, sledgehammer wielding demons, it came right after their fourth LP release And Justice for All, which in turn set the Damaged Justice tour in motion; these menacers will always come back to haunt us through the tube amps.

Review: The Mighty Bop is the duo of French house legend and pop-dance favourite Bob Sinclar and techno veteran DJ Yellow. This reissue marks the 30th anniversary of their debut album La Vague Sensorielle which was at the time a groundbreaking fusion of acid jazz and trip-hop. It has since become a favourite with new generations of diggers and has a real rhythmic depth that still cuts through three decades later. Standout tracks like 'Freestyle Linguistique' featuring EJM and the hypnotic 'Infrarouge' are well worthy of plays in a modern context and will let new audiences rediscover a classic that helped shape the sound of the 90s.

Review: German funk heroes The Mighty Mocambos continue to prove that their funk is an ever-evolving force, navigating between the worlds of gritty, organic soul and cinematic experimentation with unapologetic energy. Their latest offering marks another step forward, refining the groove-laden formula that's earned them global acclaim while pushing into new territory. The opening track hits hard with orchestral flair on 'Road to Earth,' where the legendary Peter Thomas's arrangements lay the foundation for a full-on sonic odyssey. As they move through the album, tracks like 'It's the Music' and 'Hot Stuff' groove like a classic, with Afrika Bambaataa's presence lifting the energy and ensuring a tight vibe. But it's not all about party anthems. 'Not Get Caught' from DeRobert tells a story that's as gritty as it is soulful, capturing a narrative of crime with a raw, undeniable swagger. Even more dynamic is the standout 'Catfight,' which melds mysterious Eastern flavours with a tripped-out break, displaying a versatility that refuses to be boxed in. This is an album of triumphs, not just in the power of individual tracks but in the overall cohesion of sound and spirit, and by taking a step further into uncharted waters while keeping their infectious funk roots firmly grounded, The Mighty Mocambos challenge expectations and push boundaries. A showcase of a band in full flight, steadily rising.

Review: A striking album of the bop era that was highlighted by his undying conviction and ability to reclaim his status as a primary architect of the genre. The album is built around two exceptional groups: a sextet and a quintet, both anchored by Davis' blue-chip rhythm section of Horace Silver (piano), Percy Heath (bass) and Kenny Clarke (drums). The sextet features trombonist J.J. Johnson and tenor saxophonist Lucky Thompson, while the quintet adds Dave Schildkraut (alto sax), whose contributions, though lesser-known, are memorable. The title track, an extended 12-bar blues, shows Davis' ability to exude an air of detachment from the music, making it feel like an extension of his solo rather than the other way around. 'Blue 'n' Boogie', in contrast, is a lively, energetic tune where Davis and Johnson engage in spirited improvisation, with Johnson even quoting from Thelonious Monk's 'Rhythm-A-Ning'. 'Solar' introduces a delicate interplay, with Silver's piano solo displaying an Ellington-esque elegance. The album's final track, 'Love Me or Leave Me', foreshadows Davis' later breakthrough, with his swift and decisive trumpet solo hinting at the bold innovations to come. Walkin' stands as an essential bop-era classic, with Davis' brilliant command over his instruments and his bandmates, with pieces like 'Walkin'' and 'Solar' cementing its place as a foundational jazz work.

Review: Mark Millington's debut album showcases the UK saxophonist's dynamic, melody-driven jazz sounds across some well-formed new compositions. Energetic and percussive yet deeply lyrical, five original tracks range from the joyful exuberance of 'Matilda's Dance' to the tender emotion of 'Truth Be Told.' A standout reinterpretation of Becky Hill's 'Overdrive' adds a fresh twist to the mix and throughout this album, Millington is joined by a stellar ensemble including Addison Frei (piano), Jackson Potter (guitar), Yoshi Waki (bass) and Brian Karl (drums), with more guests also featuring and making this a memorable introduction to a promising new voice in jazz.

Review: Brooklyn-based Model/Actriz, a four-piece rock band formed in 2016, return with an electrifying new chapter in their career. Frontman Cole Haden, guitarist Jack Wetmore, bassist Aaron Shapiro, and drummer Ruben Radlauer have forged a sound that merges post-punk aggression with noise rock's raw energy. Their latest release is a visceral, direct exploration of both the visceral chaos of their live shows and the darker, more introspective side of their sound. After their debut album Dogsbody earned critical acclaim in 2023, they've recalibrated their approach, opting for a more stripped-down and immediate experience. Tracks like 'Cinderella' and 'Acid Rain' charge forward with the kind of club-ready energy that makes their performances unforgettable, while 'Doves' and 'Audience' offer hauntingly introspective moments. Model/Actriz's commitment to blending queer themes with explosive music continues, pushing boundaries in both their lyrics and sound.

Review: Hard Top brings together a long-overdue collection of 1975 recordings by South African alto saxophonist Kippie Moeketsi, released here under the 1970s spelling Moketsi. Issued by As-Shams/The Sun in a gatefold double vinyl edition, the record arrives in the wake of Tete Mbambisa's African Day and marks the centenary of Moeketsi's birth. Known for his foundational role in the Jazz Epistles and his deep imprint on the evolution of South African jazz, Moeketsi remained a devoted interpreter of classic American jazz traditions even as he embraced the funk-infused direction of the 70s. Flanked by standout sidemen Sipho Gumede, Dennis Mpale, and Pat Matshikiza, the album is a clement covers set, revisiting many an r&b standard, from 70s soul and pop to contemporary township grooves. Lovingly compiled and produced by Calum MacNaughton from sessions originally overseen by the late Rashid Vally, here hear: a vital artistic dossier of a musician whose influence resonates well beyond his lifetime.

Review: American triombonist Grachan Moncur III's Some Other Stuff (1964) heaved deeper into avant-garde jazz after his groundbreaking debut Evolution. Now with an all-star lineup - Wayne Shorter (sax), Herbie Hancock (piano), Cecil McBee (bass), and Tony Williams (drums) - his sophomore slay mapped a new, unsoiled territory in modal bop. The freeform opener 'Gnostic' sets an exploratory tone, while 'Thandiwa' swings a subtler tonal thurible, and 'The Twin' playfully shunts its rhythms before 'Nomadic' reintroduces them through the rise-and-fall drumming of Mr. Williams. Now reissued as part of the Blue Note Tone Poet Series, this edition delivers the record in the utmost audiophile quality.

Review: In 1976 Anthony Howarth produced a documentary film about the Badabi tribe in Southern Iran. Each spring, this indigenous group would make the difficult journey across the Zagros mountains and valleys to ensure their sheep had new pastures to graze. Led by Jafar Qoli, the movie chronicles this epic trek and various events along the way. Taking breathers only for weddings and mediation between contacts, and grappling with torrential rain and perilous terrain, among other challenges, it's an inspiring odyssey to say the least. The music fits the bill perfectly, bringing together the legendary Persian songwriter, editor and singer Shush? Guppy and revered English singer, composer and multi-instrumentalist Gerald Thomas Moore, transporting us to a time, place and people long-since committed to memory.

Review: Yumiko Morioka's Resonance was originally released in 1987 on Akira Ito's Green & Water imprint. Album, artist and label would all trifect to help along the enviro-ambient sound of which Ito was to become a part. For its quiescent but heartrending chamber pianos, Resonance was known for its use mostly in documentaries and as background music for spas, which hardly befitted the weight of Morioka's actual achievement at the time. By 1994, Morioka had moved to California, where she had shifted her focus to family life, unaware that Resonance had gained a new following outside Japan via online platforms. In 2017, when Morioka learned of this, she was recovering from a devastating California wildfire that destroyed her home and belongings. Despite the tragedy, she returned to Japan, worked in commercial music, and later opened a chocolate shop in Tokyo. Resonance, recorded on a Bosendorfer grand, blends improvisation with calm, introspective beauty, influenced by both Japanese environmental music and Western composers such as Erik Satie. The album was remastered in 2023, preserving its serene quality.

Review: Morricone aficonadi will be champing at their costume jewellery for this one. Scored for the Sergio Martino film Ruba Al Prossimo Tuo (1976), Morricone provided a hauntingly atmospheric soundtrack, marking the flick out from the rest in the Italian Giallo wave, and its usually otherwise funk-backed, upbeat exploitation emotes. The film follows a chilling, traitorous femme-noir formula, as a young woman, Giulia, is put through a seedy ringer after witnessing a brutal murder. As Edda Dell'Orso sings above Morricone's samba arrangements, the record is notable for its renderings of classic Latin style in much broodier, more dubious tones.

Review: Marc Moulin's long career, establishing him as a pioneering figure in Belgium's music scene, continues its journey on this release, with tracks that weave together his signature blend of smooth jazz and downtempo rhythms. Beginning with the jazz-rock group Placebo in the 70s, Moulin later formed the electro-pop act Telex, which represented Belgium at Eurovision in 1980. As a solo artist, he merged jazz with electronic and downtempo sounds, collaborating with artists like Sparks and Lio. His production, marked by complex instrumentation and atmospheric depth, solidified his reputation as a key figure in both jazz and electronic music. Whether drawing from the cool jazz of the 60s or the laid-back grooves of 90s chillout, Moulin's music transcends genre boundaries. On this album, the music explores a subtle interplay of muted trumpets, congas, and guitars, blending sensual, smoky vocals with a deeply rhythmic pulse. There's an unmistakable touch of classic jazz, reminiscent of legends like Wes Montgomery and George Benson, while the rhythms pull you into a more contemporary space, aligning with the downtempo beats that were popular in the 90s. Tracks like 'Into The Dark' and 'What?' unfold with a breezy yet intricate sense of rhythm, offering both chilled vibes and moments of tension. 'Organ' offers a groove-heavy track, with its jazz roots merging seamlessly with a funk-infused, hypnotic backdrop. The bonus remixes serve as a fresh take on these original compositions. From the midnight mood of 'Organ (Cosmos Midnight Express Remix)' to the deeper house flavour of 'Into The Dark (Karma Fever Reminiscent Step Remix)', these remixes take the core of Moulin's vision and deepen it, offering something for both the jazz enthusiast and the dancefloor. This release crystalises a rich moment in Moulin's career as he updates the familiar jazz and downtempo idioms with the intricate, soulful grooves of funk and electronic experimentation, keeping his sound vital and relevant.

Review: Dennis Mpale had become a key figure in South African jazz by the time the mid-70s swung around having already had a career spanning some pivotal moments in the genre's evolution. From leading the trumpet section in Chris McGregor's Castle Lager Big Band to co-founding the jazz fusion group Roots, Mpale was instrumental in shaping jazz and in 1977, he released Our Boys Are Doing It-his solo debut. It was produced by Rashid Vally and issued on Mercury as a bold response to global trends which embraced township bump jive and featured legends like Kippie Moketsi. We Are Busy Bodies now reissues this essential title from analogue masters so it sounds superb as a key bit of jazz history.