Back catalogue:

Review: The Ramones had long reshaped the world of music in their beautifully twisted image by the time they recorded this, their second live album, in Spain in 1991. But the New York punks were seemingly addicted to playing live, touring relentlessly throughout the 80s and 90s, and their tightly drilled act is at fever pitch here, careering through an incredible 32 'blink and you'll miss them' tracks across four sides of vinyl. A handful of covers - there's a blistering version of The Trashmen's early rock 'n' roll stormer 'Surfin' Bird', for instance - nestle alongside timeless originals such as 'I Wanna Be Sedated', 'Beat On The Brat' and 'Sheena Is A Punk Rocker', with a healthy selection of deeper cuts from the late 80s here too. Top mayhem.

Review: Originally released in 1978, Road To Ruin would serve as the fourth full-length from leather jacket-clad punk pioneers The Ramones. While a rejected, mitigated flop upon release due to the band's swing for the radio fences (or airwaves) complete with sonic elements at the time alien to the punkosphere such as acoustic guitars, lead guitar solos and 60s pop ballads, in the near five decades since release, the project has been reevaluated as a bold successor to 1977's iconic Rocket To Russia (although that album did place 50 places ahead on the Billboard 200 at the time of release). Marking (no pun intended) their first effort to feature drummer Marky Ramone, who replaced Tommy Ramone after his departure due to the inability to keep up with the rigors of touring and lack of residuals from their previous record; the album's glossy, clean production has slowly morphed from malaise to praise over the ensuing decades, while offering up some of their most timeless and essential bangers including 'Needles & Pins' and 'I Wanna Be Sedated' (which if Spotify metrics are anything to go by, is the band's most popular song after, of course, 'Blitzkrieg Bop').

Review: The ultimate collector's edition of the acclaimed fourth full-length from punk turned alt rock pioneers The Replacements comes in an extensive LP and quadruple CD format, complete with an excellent remaster of Tim handled by iconic producer/engineer Ed Stasium (Ramones, Talking Heads), as well as a bevvy of previously unheard cuts (Sons of No One: Rare & Unreleased) and a classic concert from 1986 (Not Ready For Prime Time). Landing in a 12x12" hardcover book featuring dozens of unseen photos and a detailed history of the Tim era written by Bob Mehr; author of The New York Times bestseller Trouble Boys: The True Story of The Replacements, who also won a Grammy for his album notes on the band's 2019 release Dead Man's Pop, this 180 gram remaster is essential aural work for any diehards. There's never been a more ample time to revisit or freshly discover the band's first major label release and also the final album from the original line-up before guitarist Bob Stinson would be kicked out towards the end of 1986.

Review: Rise Against's reputation in the punk rock world is well established by now. 20 years, in fact more, and nine full length studio albums in, what the Chicago artist lacks in challenger status is more than compensated for with the pure respect he commands. And not without good reasons extending well beyond longevity alone - the work is always packed with energy, fury and healthy release alike, tapping into emotions on good and bad sides of human psyche by way of sounding like exactly what you want to sweat to.

Nowhere Generation is no exception, and very much a case of doing business as usual when business is good. More than good, in fact. Moving from intoxicating and subtly melodic moments into the kind of guitar work that sucks you in and doesn't let go, even managing to sneak a twisted ballad on there for good measure, it's only going to demand yet more reverence.

Review: Following on from the reissue of Rival Schools' first record, Run For Cover turns its attention to the band's landmark 2011 studio LP, which took two years to be released after the original recording sessions finished and a staggering ten years after the inaugural long player, United By Fate, had landed. Rooted in emo, pop rock, and post-hardcore, the main difference between episodes one and two was the comparatively lighter moods on the second, and an absence of distortion. In many ways, a more commercially-minded outing, at the time critics lauded Pedals for its comparative maturity, with many trumpeting the return as being slicker, more self-assured and altogether more grown up. Nevertheless, the tracks still tear from the blocks with the energy of youth and there's no denying these songs are the result of musicians with a real ear for writing infectious hooks.