Back catalogue: All genres

Review: Not to be confused with the 12th studio album by Mary J. Blige, or any of the other records with 'London Sessions' in the title (and there will be many, many), it's now 50 years since Iggy Pop and his Stooges sat down to record the now-legendary LP, Raw Power, with sessions taking place (you guessed it), in London. Logically, this extended player collates some of the best versions that didn't make the final cut into one place, and as such is definitely a must for diehard fans and collectors.

Not that others should be put off in anyway. We'd still recommend getting a copy of the original as it was intended to be released. The players designed it that way. But this is also a well-worth owning piece of punk rock history, with unrelenting, unpolished, uncompromising and unapologetic noise sounding as infectious today as it did back then.

Review: This six-track mini-album delivers Southern Californian punk at its best - fast, furious and packed with anthemic sing-along tracks. The new pressing comes on translucent white vinyl and includes an additional bonus track: a high-energy cover of Bad Brains' iconic 'Banned in D.C.,' originally released on a split 7? with Good Riddance. Combining raw energy with infectious melodies, this release captures the spirit of the punk scene with a fresh twist so whether you're a long-time fan or a new set of ears, this updated version offers a perfect opportunity to dive into the band's powerful and relentless intensity.

Review: Despite being at the centre of one of rock's tensest social media dramas in recent history - having been called out by Fat White Family for being too middle-class for their own image - Idles are back on top, thanks to their new album 'Crawler'. Taking a chance on their own criticisms, this album is more introspective than 'Ultra Mono', revealing the band's various wrestlings with addiction and desperation. In true post-punk fashion, it's an emotive sophomore development from lead brain Joe Talbot, spanning plod-rap grungers ('Car Crash') and dark disco-rock ('When The Lights Go On'), all giving off his signature brand of hopeful nihilism, with the ultimate message that 'the show must go on'.

Review: If the greatest bands evolve over the course of their career, IDLES are clearly on the right track. While the Bristol-band rose to prominence via a raw, noisy and aggressive sound that sat somewhere between post-punk and alt-rock, Tangk - their fifth album and first for three years - represents a genuine (and deliberate) tearing up of their previous trademark sound. Inspired specifically by a desire to "make people dance and make people feel", it feels like a successful attempt to move into the punk-funk/rock-rave territory previously defined by LCD Soundsystem. It's fitting then that James Murphy and company feature on standout (and recent single) 'Dancer'. The nods to the glory years of DFA Records continue throughout, with further highlights including the moody, low-slung brilliance of 'Grace' and the righteous heaviness of 'Gift Horse'.

Review: Scene Of The Crime serves up a remastered compilation of previously unreleased rare studio recordings from Iggy & The Stooges. All recorded in 1973; the same year the band would distil the frustration of their initial 1971 break up, their subsequent return upon Iggy failing to pin down adequate replacements, as well as the unchecked ego, rife drug abuse and tour burnout, into the blistering classic we now know as Raw Power. Remastered to their highest quality yet, and boasting alternate takes of gems such as 'Cock In My Pocket', 'Tight Pants,' and 'I Got A Right', this is a must-have slice of rarity for any devout Stoogist.

Review: The third full-length from Los Angeles-based progressive, jazz-tinged post-metal giants Intronaut was originally released in 2010 and celebrates its 15th anniversary this year. Further embracing the fretless bass, jazzgazing style of its 2008 predecessor Prehistoricisms, the material found on Valley Of Smoke was the first from the band to slightly eschew the use of exclusively harsh vocals and instead utilise the harmonious cadences of dual vocalist/guitarists Sacha Dunable and Dave Timnick, conjuring a hypnotic balancing act reminiscent of the synergetic fusion of Alice In Chains' Layne Staley and Jerry Cantrell. Featuring Tool bassist Justin Chancellor on the epic title-track, providing double bass flourishes, as well as the pitched glitching vocal processing similar to that of progressive death metal legends Cynic (both of whom the band would subsequently tour with), Intronaut have always deserved to be spoken of within the same breath as the likes of Mastodon, Baroness, Deftones, Hum, and any other respected boundary pushing group connecting the mercurial dots between grandiose, conflicting sonics.

Review: Originally released in 2005, and considered to be the second solo full-length from nine-fingered metal guitar pioneer Tony Iommi, Fused celebrates its 20th anniversary just a tad early with these revitalised remasters pressed to wax for the first time ever. Written in collaboration with vocalist/bassist Glenn Hughes (former Black Sabbath frontman during the mid-80s who would assume vocal duties on 1986's Seventh Star; released under the band moniker but long perceived as Iommi's first solitary creative endeavour), and legendary session drummer Kenny Aronoff (The Smashing Pumpkins, Bob Seger, Willie Nelson, John Fogerty, Bon Jovi etc), this limited translucent cobalt blue vinyl 2xLP pressing comes complete with three sporadically dispersed bonus cuts finally locked down onto own complete home.

Review: Although Senjutsu is the 17th studio album from Iron Maiden, it's really not everyday you get to pen words about the legendary British heavy metal outfit, so let's make the most of this moment. Starting with one fundamental point - if you weren't into Iron Maiden, or the 16 full length records that have come along since, this one is probably not going to change your mind.

If, however, you love the iconic operatic tones of Bruce Dickinson and the guitar searing riffs this lot are known for, then buckle up for a thrill ride through some classic Maiden business. Highlights including the epic, searing guitar solos of 'Hell On Earth', the slow-but-heavy chorus on 'Darkest Hour', and 'Days of Future Past', which is packed with enough atmosphere to fill any of the stadiums the band still relentlessly play, several times over.

Review: Are Iron Maiden the finest stadium heavy metal band the UK, or any other country, has ever produced? Maybe, but let's not get into subjective comparisons. The fundamental truth of the matter is the English titans of frantic riffs really did crack the formula and set a benchmark - combining thunderous instrumentation with mesmerising theatrics and wonderfully tongue in cheek branding.

The Number of the Beast was (and still is) the outfit's third full length record, and by this point it's safe to say they had fully entered the stride of their finest era of the last 50 or so years. Boasting at least some of their biggest anthems ('Run to The Hills', 'The Number of the Beast' itself, and 'Iron Maiden', to name but three), it's almost ridiculous to think they managed to pack this LP with 26 consistently powerful and inescapable tracks, all played with the energy of their legendary live shows.

Review: Iron Maiden are one of the world's most successful bands. They clocked up numerous hits, sold-out world tours, and chart-topping singles and were no slouches in the live area. Proving that beyond doubt is the highly collectable and limited edition picture disc which saw them deliver an electrifying performance in this concert broadcast on Dutch radio back almost a quarter of a century ago in the year 2000. The show captures the band's remarkable ability to energise and captivate live audiences with their powerful and dynamic presence across many of their most well-loved hits.

Review: 1984's Powerslave is often referred to by the members of Iron Maiden as the album that made them "really famous", as the fifth full-length from the iconic metal heroes saw them filling out larger arenas than ever previously imagined, while the World Slavery Tour would ultimately lead to their longest time ever out on the road. Featuring the iconic hit single '2 Minutes to Midnight' as well as the galloping 'Aces High', the album is most noteworthy for its epic near fourteen-minute musical re-telling of Samuel Taylor Coleridge's 'Rime of the Ancient Mariner', with the band even confessing to it being their favourite song to play live. This would also serve as the first Maiden record to consist of the same line up as its predecessor (1983's Piece Of Mind), with this stable going on to record two more full-lengths with Somewhere In Time (1986 ) and Seventh Son Of A Seventh Son (1988). Celebrating its 40th anniversary, this reissue lands on limited edition zoetrope picture disc vinyl..