Back catalogue: All genres

Review: Originally featured on the soundtrack to The Hangover II (of all movies), 'Black Hell' from Misfits mastermind and all round evil Elvis curmudgeon Glenn Danzig finally comes to vinyl for its first time ever in both 12" format and in the form of this limited orange splattered 7" (just in time for spooky season). Featuring 'Thirteen' on the flipside (originally appearing on Danzig 6:66 Satans Child whilst made abundantly more popular by Johnny Cash's cover version), this is a perfect little slice of sultry, macabre wax to get the Halloween ghouls doing their best hoedown.

Review: With a title paying homage to London's cultural epicentre for the hippie and mod movements that would serve as precursors to the punk rock revolution, The Carnaby St. EP offers up a seasoned cross-Atlantic meeting of sonic minds between two seminal punk acts on either side of the sea. With legendary UK Subs frontman Charlie Harper and long-time bassist Alvin Gibbs linking up with Dead Boys guitarist Cheetah Chrome for a balls-to the-wall blowout celebration of some of the most quintessential cuts from the British Invasion that initially put them on their life-long trajectories, here the mutual veterans tear through faithful yet feral renditions of The Rolling Stones' 'Paint It Black', The Yardbirds' 'For Your Love', and our personal favourite; 'Taxman' by The Beatles. 3 covers, 7 inches and decades' worth of punk rock legacy.

Review: Th eighth full-length from former Misfits horror-crooner Glenn Danzig's solo project/band served as their first LP to not carry a number, following 777: I Luciferi which angled itself as the closing work of that initial seven volume sequence. Originally released in 2004, Circle Of Snakes continues the descent of Danzig into a rawer, more abrasive form of metallic leaning gothic hard rock, with a notable lowering of vocals in the mix in order to elevate the churning jaggedness of the instrumental rumble. Continuing to eschew the more industrial programming of previous Danzig entries and echoing the stripped back approach of 'Danzig 1' and the increased heaviness of the aforementioned Luciferi, the album would also mark the first appearance of Tommy Victor of Prong on guitars, helping to aid the audible malevolence and ultimately leading to one of the strongest contributions to Danzig's latter day 21st century output.

Review: Released first round time in 2002, Danzig's 777: I Luciferi is a step away from the programmed industrial influences of the two albums that preceded it in favour of a return to the metallic, rawer sound that helped Glenn Danzig stand apart from his horror shadowed punk beginnings. Now, more than 20 years on, this reissue is a reminder of Luciferi as a high watermark in the later work of one of the most controversial figures in metal, punk and hard rock.

Review: The long-gestating follow up to 1992's initial instalment, Black Aria II would finally arrive in 2006 after years of discussion from Misfits/Samhain horror-punk visionary Glenn Danzig, and further his exploration into the cavernous realms of modern classical dark ambience. Conceptually based around Lillith, the first wife of Adam, the material here is far more minimalist and starker than its gothic predecessor, while utilising a more varied array of instruments on top of the pre-established organ and strings, with more Eastern sonic influences to conjure a mercurial vision independent of the preceding volume. Complete with eerie chimes, chants and esoteric lamentations, the project marks one of Danzig's most intriguing works when compared to, say, his Elvis covers compilations, and offers a transportive, biblical, haunting narrative delivered almost exclusively via instrumental atmospherics and insidious gloom.

Review: Few pioneering punk acts from the 70s portrayed the debaucherous ethos of the lifestyle more than The Dead Boys, so much so, that drummer Johnny Blitz almost lost his life on April 19th 1978 after being stabbed five times during an altercation. Covering his medical bills by organising a four-day benefit at the iconic New York City venue CBGB's, the band's own performance on May 6th featured New York Dolls' Jerry Nolan handling skin duties for nine songs while the remainder were covered by OG Blues Brother and comedy legend John Belushi (who was an avid supporter of the city's punk scene). Tearing through a set of material made up from Young Loud & Snotty, as well as We Have Come For Your Children (which would be officially released just a month later), with a few Dolls covers for good measure, Night Of The Living Dead Dolls is a piece of authentic punk history, reliably captured with questionable audio clarity just like those attending CBGB shows had come to expect. Complete with additional liner notes detailing the iconic night in full.

Review: Jamaican reggae legend Errol Dunkley celebrates nearly six decades of music with his new studio album, OK Fred - Best Of. This collection highlights Dunkley's enduring legacy and the rich heritage of Jamaican reggae. The album features fresh takes on his iconic hits such as 'OK Fred' and 'Black Cinderella' alongside beloved tracks penned by reggae greats such as Bob Marley and Toots Hibbert. With its mix of classic and cherished tunes, this release honours Dunkley's influential career and showcases what a timeless sound he has always had.