Back catalogue: All genres

Review: To celebrate the 25th anniversary of Dutch titan Armin van Buuren's legendary trance anthem 'Eternity,' Music on Vinyl has hooked up with his Armada Music label to release all four versions of the track on vinyl for the first time ever. Armin has remained a dedicated servant to trance even while it fell out of favour but it is now very much back in vogue so this one is sure to get back into heavy rotation again. Originally released in 2000, 'Eternity' is a joyous and uplifting sound with lashings of Ibiza sunshine, bright melodies and rushes of euphoria all making it irresistible.

Review: Writers will appreciate the double play on words no doubt, and trying to figure out who wouldn't get off on the Au Pairs is part of the brain teaser here. That said, the British post punk outfit only managed to peak at 79 in the album charts with this one, so clearly back in 1982 plenty of people either felt differently to us or weren't actually listening. Rediscovering the record now confirms their ignorance. Musically, Sense & Sensuality is a far broader collection than the group's preceding work, smashing through the limitations of a genre that was in its Informed by free form jazz, theatrical cabaret, new wave and art pop, it's a wild and unarguably fun ride instrumentally speaking, while lyrics speak to personal challenges and timely political issues.

Review: The Guy Ritchie-penned film The Gentlemen centres on Mickey Pearson (Matthew McConaughey), an American in London whose luxurious lap founders on the back of a lucrative but prone marijuana empire. As he plans to retire and sell his business, a web of schemes, blackmail, and betrayal unfolds as rivals plot to seize his fortune. British composer Chris Benstead's soundtrack is elusive and sluicing, incorporating Charleston-inciting bass undertows, ticking clocks and finger-clicking inquests, as of a main character's paranoia threatening to make truly manifest.

Review: Don Blackman's 1982 self-titled debut is an underrated jazz-funk gem that fuses soul, funk and jazz-fusion into a sophisticated groove-laden journey that was produced by Dave Grusin and Larry Rosen for GRP Records. The album showcases Blackman's keyboard wizardry and soulful vocals across standout tracks like 'Heart's Desire' and 'Holding You Loving You.' With playful cuts like 'Yabba Dabba Doo,' it balances polish with joyful experimentation and though not a commercial hit, its influence has quietly grown and ir has been sampled by hip-hop greats and revered by collectors alike. This reissue reaffirms its status as a cult classic and a crucial slice of 80s funk.

Review: Funk and soul album don't come much better than this. Chocolate Milk's Action Speaks Louder Than Words is a 1975 classic and an essential piece of New Orleans music history. Discovered and produced by the legendary Allen Toussaint, the band's debut blends tight grooves, sharp horn lines and socially conscious lyrics with the rich musical heritage of their hometown. The standout title track is a rare groove classic still sampled and revered decades later. With polished arrangements and undeniable rhythm, this album firmly established Chocolate Milk as a force in 70s funk and remains a superb boogie-infused release that is as vital and infectious today as ever.

Review: Dom Salvador's 1969 album is pure Brazilian jazz magic. This piano maestro effortlessly fuses samba, bossa nova and hard bop into one smooth and moving groove. Tracks like 'Samba do Malandrinho' and 'Tio Macro' show off his slick chops and inventive style as he mixes tight rhythms with wild improvisation. It's a vivid trip to somewhere Brazilian heat meets American jazz cool. Fresh, funky and full of soul, Dom Salvador isn't just playing music here, he's rewriting the rules of jazz fusion, which is why this record is a classic of its genre and a vital reissue.

Review: 2002's Hooverphonic Presents Jackie Cane always felt like the odd jewel in the Belgian outfit's catalogue i part concept album, part theatrical detour, wrapped in lush strings and Bond-theme bravado. The 2025 reissue brings it back into focus, and it's certainly worth revisiting. There's drama i torch songs, twisted pop, and trip-hop filtered through a cinematic lens i but also a tangible sense of melancholy beneath. Tracks like 'Sometimes' and 'Human Interest' still land with weight, while the nocturnal psychedelia of 'Jackie's Delirium' and 'Shampoo' adds hallucinogenic depth to the collection. It's all very stylised, but that's part of the charm. You can hear the ambition, the restlessness. Not quite cool, not quite kitsch, but somehow it works.

Review: There's more to US funk god Rick James than just 'Super Freak' and this sprawling retrospective proves it. Across four sides, the Buffalo-born musician's full-spectrum funk is on glorious display i from the righteous bounce of 'You & I' and weed-soaked romance of 'Mary Jane', to the hard-grinding grooves of 'Ghetto Life' and 'Give It To Me Baby'. The hits are all here, but so are deeper cuts like 'She Blew My Mind (69 Times)', 'Cold Blooded' and 'Can't Stop', showing off James's twisted humour, whip-smart arrangements and genre-bending instincts. Highlights like 'Glow', 'Dance Wit Me - Part 1' and the Temptations-featuring 'Standing On The Top' cement his reputation as a psychedelic soul innovator who consistently defied convention. Even the closing Busta Rhymes flip of 'In The Ghetto' feels earned i a nod to his lasting influence on rap and r&b. This isn't just a greatest hits i it's a flex, a time capsule and a reminder that Rick James could outplay, outsing and outfreak almost anyone.

Review: Released in 2000, Poison is the third studio album by Swedish singer-songwriter Jay-Jay Johanson, having earned his place as a stalwart figure thanks to his melancholic vocals set to perspirant trip hop. From 'Believe in Us' to 'Colder,' not to mention the toxicologist's favourite 'Poison,' we're met again with Johanson's signature downtempos and experientially charged lyrics. Sophisticated atmospherics abound, bridging the all-to-intimate gap between sexuality and the unknown.

Review: "We few, we happy few, we band of brothers..." So said Henry V before the battle of Agincourt in one of Shakespeare's many lauded histories. The quote went on to Christen Stephen Ambrose's 1993 novel and a subsequent American war drama miniseries of the same name, chronicling the journey of the "Easy Company," a group of American paratroopers during World War II. Training, combat tussles, and fraternal bonds are given a brutal portrayal in the film, and this mood of brutality and endurance was not unnoticeably underscored by Michael Kamen's soundtrack, now reissued on gatefold 2xLP. Kamen, known for his scores for Die Hard, X-Men and Memento, brought out a mood of orchestral fortuity, successfully mirroring the film's intent to portray themes of glory, tragedy and camaraderie, all of which ooze from its many orchestral swells and windfalls.

Review: A new compilation which looks to celebrate the unheralded period of hugely successful Isle of Wight pop/funk band Level 42, named that after their cult funk days in the early 80s and their chart-topping victories in the middle and end of the decade. Music on Vinyl helps celebrate their 90s years with this compilation that spans the albums Guaranteed (1991) and Forever Now (1994). Originally released in 2007, this limited edition 2xLP set, pressed on vibrant 180-gram yellow vinyl, highlights the band's unique blend of funk, pop and jazz influences, with a mix of infectious grooves and introspective lyrics. The first side opens with the title track, 'Past Lives', a slick funk-driven number that sets the tone for the compilation, followed by the energetic 'Guaranteed' and the introspective 'Overtime'. Tracks like 'My Father's Shoes' explore deeper emotional landscapes, while 'Forever Now' explores the band's ability to craft smooth, soulful anthems. Side three is a ideal, featuring the infectious 'Model Friend' and the jazzy 'Romance'. Meanwhile, 'One in a Million' is a perfect example of the band's ability to blend pop hooks with sophisticated arrangements. Side four closes the compilation on a high note with 'If You Were Mine', a catchy, uplifting finale. The four-page booklet provides context for this fruitful period in Level 42's career, and the limited yellow vinyl adds an extra layer of collectible charm.

Review: Studio album number 11 from legendary French outfit Magma, now reissued on 180g vinyl, marking a vital return to new composition after nearly three decades. Written by founder Christian Vander in the early 2000s and performed live for years before recording, the material fuses operatic vocals, rigid minimalism, and the band's signature invented language, Kobaian. 'Ekmah' and 'Teha' move like liturgical invocations, while the choral repetitions of 'Les Hommes Sont Venus' sound as if channelled from another realm entirely. Vander's drumming is restrained but authoritative, a quiet force guiding the momentum beneath 'Zahrr' and the ecstatic climax of 'Felicite Thosz'. There's a sense of ritualised propulsion throughout, as Magma treat rhythm not as groove but as mantra. It remains singular music: hermetic, alien, and undeniably spiritual - a rare return from a band that have always existed somewhere outside of time and genre.

Review: Mahavishnu Orchestra, a believably metaphysical force in the alternate plane that is jazz-rock fusion, released Visions Of The Emerald Beyond in 1975, indicating an accessible and funk-influenced approach compared to their earlier works. Through sprawling fusion fugues and shorter, more structured pieces, the record is, despite its compositional variety, a fadeless, seamless connected suite. 'Lila's Dance' stands tall among the movements especially, though 'Eternity's Breath' and 'Cosmic Strut' also abound in their sooling psychic projections, demoing the radical result of the shaken-up, second Mahavishnu lineup, with Mahavishnu himself, sometime Miles Davis ensemble guitarist, John McLaughlin remaining at the helm.

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: Peter Hook's post-New Order venture with David Potts resurfaces after 25 years with Monaco, the duo's second and final album, finally seeing a vinyl pressing for the first time. The self-titled LP followed Music For Pleasure and leant into Hook and Potts' foundational fondness for rock-dance hybrids, with the buoyant 'I've Got A Feeling' and the moodier 'See Saw' among the stereo-steroidal standouts; we've everything from Brit-pub rock whimsy to club-shuttling indie house respectively. This UK-only edition lands as a deluxe gatefold double crystal clear wax; with a four-page booklet and a deluge of bonus tracks, this is the first proper physical revisit to a project that closed the 90s in the shadow of Hook's better-known bands.

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: Originally released in 2005 and celebrating its 20th anniversary, Ghost Reveries would serve as the eighth full-length from Swedish progressive metal legends Opeth. Following the 2002/2003 two-part project which showcased their most malevolent form on Deliverance and then a resolutely pleasant prog rock opus with Damnation, this follow up sought to rectify one side with the other; coalescing into a masterwork which simultaneously was regarded by longtime fans as a career height, whilst the expanded distribution from signing with major label Roadrunner opened them up to an entire new wave of unsuspecting ears. Marking their first album since 1999's Still Life to not be produced by Porcupine Tree's Steve Wilson, instead duties fell to Jens Bogren (Katatonia, At The Gates, Dimmu Borgir) who helped Mikael Akerfeldt and his cohorts to rediscover their death metal origins yet channelled through their more melancholic sensibilities. Boasting some of their most vital pieces from the epic 10-minute opener 'Ghost Of Perdition', to the even lengthier fan favourite 'Reverie/Harlequin Forest', as well as the equally adored 'The Grand Conjuration', the album has long since been held aloft as the perfect modern entry point to the world of Opeth. The project would also be the first to include keyboardist Per Wiberg as a "permanent" member while serving as their final endeavour to feature both drummer Martin Lopez and long-time guitarist Peter Lindgren.

Review: Pharoah Sanders, the legendary saxophonist known for his spiritual jazz and drummer Norman Connors, another key figure in the genre, deliver a blistering live performance at 1978's Montreux Jazz Festival set. The duo, both with decades of experience shaping the sound of free jazz, blend complex rhythms with expansive melodies, weaving through tracks like 'Babylon' and 'Casino Latino.' Sanders' saxophone improvisations glide between tension and release, while Connors' drumming provides a solid yet dynamic foundation. This recording encapsulates their mastery of blending the spiritual with the free, two jazz icons at the height of their craft, delivering a performance that is at once urgent and transcendental.

Review: Arriving in 1997, a time when the UK's music scene was awash with Britpop and various electronic sub-genres, Unleash The Beast lands between their NWOBHM 80s glories and their subsequent re-adoption as metal national treasures, but that shouldn't put you off. It takes more than a few fads to put the Barnsley crew off their stride and they sound like they're firing on all cylinders on 'The Thin Red Line' or 'The Preacher', which neatly incorporates a ZZ Top-type headnodding funkiness and unusually Bon Scott-esque vocal into their well worn twin guitar trademarks. There are cursory nods to stadium rock and thrash metal here, but Saxon have always stayed relevant by doing what they do best rather than pandering to fashion. You know what they do - and if you like it, you'll love this.

Review: The American gothic rock and post-punk band She Wants Revenge - formed by founding members Adam Bravin and Justin Warfield in 2004 - hears a reissue of their second album 'This Is Forever' from 2007. A fascinating continuation of the gothic post-punk sound in an era in which it wasn't exactly fashionable, Bravin and Warfield present a brilliant mashup of eerie, gamey electronica and eye-popping, authentic punk here. The record opens with the looming piano castellations of 'First, Love' - a boom-boom-pow instrumental intro that suggests every grim, bloodthirsty motif you need to know, without saying a word - then the real carnage ensues with the likes of 'Written In Blood', 'True Romance', 'She Will Always Be A Broken Girl' and 'Rachel', all of which together tell a fierce tale of high-stakes heartbreak and redded redress; electrified punk, fallen women.

Review: Originally formed in London in 1976, The Slits made major waves with the frenetic post-punk energy of their acclaimed 1979 debut LP Cut, whilst their 1981 sophomore follow up (aka "difficult second album") Return of the Giant Slits would arrive mere months before the group's initial disbandment. Highlighting the internal creative differences occurring at the time of recording, the material showcases a major expansion of sound, pulling from rhythmic afro-pop and dub, conjuring a unique "world music" approach to post-punk before the likes of Vampire Weekend were even a twinkle in their father's eyes. The album would also serve as their last output until their return with the 2006 Revenge of the Killer Slits EP followed by 2009's third full-length Trapped Animal.

Review: New York glam-metal outfit White Lion carved out a distinct place in late 80s rock with melodic precision, glossy riffs and stadium-sized sentiment. This collection captures their most anthemic highs, with cuts from Pride, Big Game and Mane Attraction laid out in full power-ballad and riff-led glory. The one-two of 'Wait' and 'Radar Love' opens with slick drama, while 'Hungry' and 'Broken Heart' showcase their knack for writing choruses with teeth. Ballads like 'When the Children Cry' and 'Love Don't Come Easy' dial into emotional overdrive, but there's bite too: 'Little Fighter' and 'Lights & Thunder' burn with righteous intent. Two live recordings-'Lady of the Valley' and 'All You Need Is Rock N Roll'-round it off with arena energy. A slick document of their platinum-era peak.

Review: Christopher Nolan's Dunkirk reimagines the war film as a tense, near-wordless "single-take" experience. Set during the 1940 evacuation from the beaches of Dunkirk, the film captures the claustrophobic chaos faced by Allied forces encircled by German troops. German composer Hans Zimmer's score centrally shapes the film's pressure-cooker atmosphere, as a ticking motif sampled from Nolan's own pocket watch circumvolves a Shepard tone, never ceasing to up the audiovisual tension. This limited edition release of 500 hand-numbered copies on dark green vinyl includes liner notes from Nolan himself, offering insight into the film's sonic and structural design. More than just a soundtrack, Dunkirk was marked out as a landmark in psychological intensity through sound, precision-engineered for immersive listening.