Back catalogue: All genres

Review: Alive Cooper's 1971 classic Killer was his fourth studio album during a truly unstoppable period for the Detroit rocker. He clocked up consecutive platinum-selling albums as well as five Top 40 hits such 'I'm Eighteen,' 'School's Out' and 'No More Mr. Nice Guy.' This reissue comes alongside a reissue of the 1972 album School's Out and has been newly remastered with the addition of rare recordings and previously unreleased live performances. This one topped out at #21 on the Billboard albums chart and featured hit singles such as 'Under My Wheels' and 'Be My Lover' as well as a prog-rock-inspired epic in the shape of 'Halo Of Flies.'

Review: Anthrax's Sound of White Noise marked a pivotal shift in the band's sound and lineup. Released in 1993 and with new vocalist John Bush, formerly of Armored Saint, Anthrax infused their thrash metal roots with grunge and alternative rock influences. The album, produced by Dave Jerden, features standout tracks like 'Only' and 'Black Lodge,' showcasing a darker, more mature tone. Sound of White Noise received critical acclaim for its innovation and depth, and achieved commercial success by peaking at number seven on the Billboard 200. This album remains a significant entry in Anthrax's discography and one that symbolises their evolution and adaptability in the 90s metal scene.

Review: Bad Omens expand their sonic universe with this ambitious triple LP, an experimental companion to 'The Death of Peace of Mind'. Featuring reimagined tracks, interludes, and collaborations with artists like ERRA, Poppy, and HEALTH, this release ventures into bold new territory. 'C:\Projects\CJOST\BEATDEATH' sets an ominous tone, while 'V.A.N (feat. Poppy)' injects a dose of dark pop energy. The band explores their heavier side with 'Anything > Human (feat. ERRA)', and 'Nervous System (feat. iRis.EXE)' delves into electronic textures. Live versions of fan favourites and collaborations with the likes of Let's Eat Grandma add further depth to this expansive project. This is Bad Omens at their most ambitious and experimental, pushing the boundaries of their sound and captivating listeners with a truly immersive experience.

Review: An album that surely needs no introduction and does precisely what it says on the tin (like Ronseal), Black Sabbath by Black Sabbath is often considered (and rightly so) to be the first true heavy metal album, while the deeper nerds will also attest to the project birthing the doom metal genre as an entity thanks to guitarist Tony Iommi's signature menacingly psychedelic tone. Originally released in 1970, this self-titled debut boasts some of the band's most iconic cuts to date such as the looming title-track as well as 'The Wizard', 'Behind The Wall Of Sleep', and, 'N.I.B.', while the fact that they managed to also record and release their sophomore follow up Paranoid the very same year is anyone's guess (drugs).

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: Clutch's cult and debut recording back in 1993 has never before been available on vinyl, but it is now thanks to Weathermaker Music who have pressed it up to a limited 180 gram sea glass blue vinyl and included a numbered and autographed insert. Transnational Speedway League is a great work from the band's Tim Sul and it comes with great artwork which has been redesigned by Dan Winters and Sult. The limited pressing is a must-own for fans that reminds of the band's very earliest sonic roots, raw riffs and guttural vocals that all make for an intense and arresting album still now all these years later.

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: If you're going to re-release a Deftones album with stacks and stacks of bonus material, including remixes by artists ranging from The Cure's Robert Smith to Squarepusher, then White Pony was always going to be a solid choice. First unveiled in 2000, the band's third album marked a major turning point in their career and sound, bringing in far more experimental ideas to the already-alternative metal of their early output.

Two decades on and the original work still holds up to significant scrutiny - the kind of scrutiny bands like Deftones are used to, having created legions of highly obsessed fans during their time on the road and in studios. What makes this revisitation so compelling, though, are the bits and pieces that weren't included with the record first time round, which should keep you busy for quite some time.

Review: A four-CD career retrospective of Motorhead's iconic guitarist, coupled with a 320-page book, is set for release via BMG. Authoured by veteran rock journalist Kris Needs, in collaboration with Clarke's widow Mariko Fujiwara, the book provides a detailed account of Clarke's life and career. The narrative begins with Clarke's formative years, from his early musical inspirations to his significant collaborations, including recording with Curtis Knight. The story delves into his pivotal years with Motorhead (1976-1982), the formation of Fastway, and his solo endeavours. Personal insights from Mariko and Clarke's close friends enrich the biography, offering a look into his life beyond the stage. The CDs include The Early Years, featuring tracks from Zeus, Continuous Performance, and the Muggers. Motorhead Era, highlighting hits like 'Ace Of Spades,' unreleased demos and Eddie's work with Girlschool, Fastway, which showcases the band's evolution with demos, remixes, and tracks from eight albums and the Solo Years, focusing on his solo albums and collaborations. Stories don't come much more comprehensive than this.

Review: Set to tear the (proverbial) roof off of Gunnersbury Park this August alongside the newly rejuvenated Pendulum, nu-metal icons Limp Bizkit have reached a peak in their career where their previously maligned nu-metal hip-hop hybrid has become a nostalgia source for hundreds of thousands fans. What better preparation for the upcoming event than this double LP greatest hits collection that runs through a myriad of the band's most essential bangers. From the breakout (no pun intended) singles 'Break Stuff' and 'Nookie' which put Significant Other on the map and in CD collections, to the endless string of hits from ignorant masterwork Chocolate Starfish & The Hot Dog Flavored Water, such as 'My Generation', 'Rollin'', 'My Way' and the Mission Impossible 2 soundtrack stomper 'Take A Look Around', all the way up to the much underrated 'Eat You Alive' and The Who cover 'Behind Blue Eyes' from the unfairly forgotten Results May Vary, this is an ideal selection for both passive listeners and diehard fans. And yes, it obviously includes the George Michael cover of 'Faith'.

Review: Many a music lover will have gone through a rebellious teenage rock phase, and if so there is a good chance that for a short period at least they were well into Linkin Park. The stadium-sized rockers were a seminal act in the naughties and their ground-breaking second album Meterora was released in March 2003. It now gets a special 20th-anniversary reissue and comes with global hit singles such as 'Somewhere I Belong', 'Faint' and 'Numb' all of which have the big energy riffs the band became known for. This 4 x 12" bumper pack comes with some extra rare and unreleased material.

Review: The 'Papercuts' Singles Collection 2000-2023 by American rock legends Linkin Park offers a comprehensive journey through the band's evolution over two decades. This anthology captures the essence of their genre-defining sound, showcasing their iconic hits alongside lesser-known gems. From the raw intensity of early tracks like 'One Step Closer' to the introspective depth of later releases such as 'Numb,' each song reflects the band's growth and artistic maturity. With powerful vocals, dynamic instrumentals, and poignant lyrics, LINKIN PARK's music continues to resonate with fans worldwide.

Review: The fourth full-length from thrash metal titans Metallica has gone on since its original 1988 release to be heralded as the band's most progressive, vicious and artistic statement. Marking their first work following the tragic passing of bassist Cliff Burton, the album has become controversial for its notable muting of (at the time) newcomer Jason Newsted's performance, yet it's immensely difficult to ignore a project that boasts some of the band's finest material, from the breakneck paced opener 'Blackened' to the grooving intensity of 'Harvester Of Sorrow' to the Johnny Got His Gun based psychological metal ballad 'One'. Ask a Metallica lifer what's truly the group's finest moment, and any worth their salt will point you towards ...And Justice For All each and every time.

Review: Metallica's self-titled fifth full-length, subsequently dubbed 'The Black Album', still serves as the controversial bridging point from their iconic run of four definitive thrash metal classics throughout the 80's, to their more sporadic and messy 90s output. For some, the inclusion of producer Bob Rock was a step too far into accessible territory as ten-minute instrumentals were abandoned, compositions were simplified, and the overall aggressive, grim edges showcased on the preceding classics Master Of Puppets and ...And Justice for All were somewhat sanded down to appeal to as large of an audience as possible. Make no mistake however, for every naysayer fan who opts to live in a fantasy where Metallica never continued into a second decade, there's still legions of adoring defenders who praise the balance the group would strike. It also doesn't hurt that the tracklist boasts literally some of the most well known and iconic cuts of their career, from the opening classic 'Enter Sandman' to the hefty groove of 'Sad But True', to more melodious fare like 'The Unforgiven' as well as the timeless ballad 'Nothing Else Matters'.

Review: We Take No Prisoners is a definitive collection of the band's singles from 1995 to 2006, presented as a nine 7" single box set, and expanded double CD and digital editions. Spanning tracks like the relentless 'Sacrifice', their distinctive cover of the Sex Pistols' 'God Save The Queen', and the semi-acoustic 'Whorehouse Blues', the compilation highlights the band's enduring songwriting talent. The set also includes rare live and radio edits, along with a previously unreleased promo interview with Lemmy and Mikkey Dee from 2004. This collection captures the essence of an era and the songs that fuelled the success of the albums they came from.

Review: Originally released in 2011 as follow up to 2008's stellar career height Watershed, the tenth full-length from Swedish progressive death metal legends Opeth marked a notable turn, which the members had been desiring to take for some time. Heritage would be their first album since 2003's melancholic Damnation to completely eschew vocalist/guitarist/primary songwriter Mikael Akerfeldt's signature death growls, yet this decision wasn't so much in service of this one particular project as had been so in the past. Rather, this was the sign that the Scandinavian death metal elements of their core sound were ready to be laid to rest in favour of an embrace of the 70s prog rock the members grew up idolising. Drawing on the likes of Genesis, Yes and Rush, whilst allowing Akerfeldt's smooth cadence to lead the pieces, this is vintage, jazzy, complex yet undeniably groovy retro progressive rock of the classic era, complete with fuzzed out guitar lines, bizarre time signatures and an abundance of Hammond organ. Somewhat maligned by some of the fanbase while others lauded the brave and natural change in direction, this style would become the standard Opeth sonic aesthetic up until 2024's latest album The Last Will & Testament, which saw a return to their heavier death metal origins.

Review: Fear Inoculum brought a 13-year Tool hiatus to an end in typically dramatic, knock-your-socks-off and blow wind through your hair style. A fine example of what the group have always done so well - running with wolves like Mogwai, only with far more metal sensibilities, and a damn-sight bigger helping of experimentalism, when this bad boy arrived in 2019 it shot straight to the top of the US Billboard 200, the third consecutive record from the group to do so.

Of course, those charts don't necessarily mean as much in this age as they did when the preceding Tool LP dropped, but 270,000 album-equivalent units within the first week do not lie. Nor does the quality of work here. From the avant-garde percussion and awkward synths of 'Chocolate Chip Trip', to the almost-ethereal ambience of 'Legion Inoculant' and the riff and crescendo heavy 'Pneuma', it's a wild thing of beauty.

Review: The influence of Type O Negative continues to be felt long after Peter Steele's death signalled the end of the band. The goth metal band have a generous number of high points in their career, and 2003 album Life Is Killing Me is surely one of them. Drawing on his personal struggles at the time, Steele created a powerful statement draped in the grandiose style of rock he had cultivated since the band's debut. As well as the single 'I Don't Wanna Be Me', there was a cover of the song 'Angry Inch' and the opening track 'Thir13teen', a piece of music from classic TV show The Munsters. Two decades on from its original release, this is the first time the album has been released on vinyl, presented as a triple black and green pressing in a trifold sleeve.