Back catalogue: All genres

Review: The fantastic James Taylor Quartet delivers a punk-infused track with a powerhouse chorus here that channels the energy of Taylor's time with The Prisoners when supporting The Ramones during their 1986 UK tour. Of that time he has said The Ramones were "incredible-watching their three-hour sets every night at 21 had a huge impact on me. It took until I was 60 to find a way to act on that inspiration." Though The James Taylor Quartet has always had a punky rock 'n' roll vibe in their live shows, this feels fresh and like a new discovery, despite the influence always being present on some level.

Review: Few artists embody rock 'n' roll's rebellious spirit like Joan Jett. From her early days with The Runaways to fronting the Blackhearts, her blend of punk attitude and stadium-sized hooks reshaped rock history. 'I Love Rock & Roll' became an era-defining anthem, while 'Bad Reputation' cemented her status as an uncompromising trailblazer. This 40th-anniversary edition sees Jett revisit these classics with The Sex Pistols and Germs/Nirvana man Pat Smear, two figures whose own punk legacies align perfectly with her fearless approach. Still as electrifying as ever, Jett's influence echoes through generations, proving rock 'n' roll will never die - if anything, it only gets louder.

Review: Originally founded by former members of Youth Of Today and Gorilla Biscuits, Judge would become another legendary example of the 1980s New York hardcore scene, with their 1989 Bringin' It Down LP widely considered to be one of the most vital cornerstones. At the dawn of 1990, a year on from their album release and a year before their official disbanding, the group dropped the There Will Be Quiet 7", boasting two of their most monstrous cuts, 'Forget This Time' and 'The Storm II', and now for the first time in over three decades, their ever-faithful label-home Revelation Records have authentically reissued the OG 7" single for both lifers who've likely parted ways with their copy, and newcomers still unearthing the plethora of classic material that built the bedrock for the scene's current moment in the sun. Militant straight-edge hardcore, delivered with beastly metallic riffs and a message so earnest, sincere and palpable, it'll convert you if you're not careful.

Review: With the absolute debacle that is the present day US political landscape, Dead Kennedys frontman Jello Biafra has opted to press his The Guantanamo School of Medicine (originally digital-only) single 'Blunder Blubber' to wax. Originally penned to mark the passing of right-wing scare monger Rush Limbaugh and recorded in 2020 during the Tea Party Revenge Porn sessions, the track served as a major critique of the rise of right-wing extremism, tracing its roots back to Limbaugh's influence and the repeal of the Fairness Doctrine under President Reagan in 1987, a policy change that allowed one-sided political commentary on public airwaves, which Biafra perceives as the floodgates opening to the MAGA mayhem of today, with the vocalist even noting - "I wrote [the song] back when Clinton was president, seeing the writing on the wall. I was hoping never to use it, but we had no choice but to update and perform it now." On the flip is the debut single from The November 3 with their aptly titled 'I Fucked A Republican', dropped during the 2020 Republican National Convention. As both groups and the American left at large are largely shocked and deflated that they're right back where they were this time four years ago, it appears a doubling down of refusal is now vital with this double whammy of sonic middle-fingers now finding a tangible, vinyl home to keep their message permanent and enduring in such worrisome times.

Review: After their first round was such a success, Gary Crowley and Jim Lahat have been tasked with pulling together another essential collection of punk and new wave from the 70s and 80s, and you can rest assured they've done it again. There are some major, familiar names here like The Clash, The Slits and Ramones, but there's also a hell of a lot of rare delights from the likes of The Limit, The Art Attacks and The Newtown Neurotics. Musically, there's plenty of range too from spiky three-chord pub rock and punk through to Linton Kewsi Johnson and Dennis Bovell's crossover dub as Poet & The Roots. That's just a tiny overview of this mammoth six-disc set, which takes you deep into the heart of a vital, thrilling period in alternative music.

Review: Recorded in 1975 after the disintegration of The Stooges and eventually released, albeit in altered form, in 1977, the album saw Iggy recording his vocal contributions at weekends, on leave from the mental institution at which he was recovering from heroin addiction. With the addition of pianos, acoustic guitars and saxophones to the musical palate it's a different beast from the raw power - and Raw Power - of the Stooges, a bridge between his garage rock roots and the classier pop offerings he'd soon become known for. A fascinating document, regardless, it's well worth a listen.

Review: Jah Wobble has taken his musicianship far and wide since he first rose to prominence in the glory days of post-punk and new wave. He's more readily associated with dub and international musical fusions than rock, but on this new album for Cleopatra he's returned his focus to the spiky energy bursts of his earlier work with Public Image Ltd. Produced with Jon Klein of Siouxsie & The Banshees, A Brief History Of Now covers a lot of ground and revels in allowing all kinds of influences in without losing focus. This is a set of kick ass rock tunes first and foremost, but there's space for subtlety and humour to make sure you know it's Wobble at the controls.

Review: The Task Has Overwhelmed Us is the fourth and final volume in The Jeffrey Lee Pierce Sessions Project series, a tribute to the late singer and guitarist of The Gun Club. The project was initiated by Pierce's friend and collaborator Cypress Grove, who invited various artists to reinterpret or complete Pierce's songs, using his original demos, lyrics, and notes. The project features a stellar cast of musicians, including Nick Cave, Debbie Harry, Mark Lanegan, Lydia Lunch, Warren Ellis, Hugo Race, and many more. The Task Has Overwhelmed Us contains 20 tracks, some of which are covers of Gun Club classics - such as 'Mother of Earth' by Dave Gahan and 'Fire Spirit' by Mark Stewart. Some are new compositions based on Pierce's unfinished ideas, such as 'On the Other Side' by Nick Cave and Debbie Harry, 'Lucky Jim' by Chris Eckman and Chantal Acda.

Review: You may have heard that former Dead Kennedys frontman and now multi-project artist Jello Biafra leads his very own School Of Medicine, inspired by the pioneering medicinal discoveries of his antecedents Iggy Pop and hip-hop greats such as Hieroglyphics and Digital Underground. The Audacity Of Hype, the School's first patent, was the logical chemical synthesis that made up these ingredients; fiery, crunchy, high-velocity, hardcore punk and post-punk, with a dashing of metal drumming and political emphasis on "Homeland insecurity". Now reissued via Alternative Tentacles a full fifteen years later - cracking stuff!

Review: Dead Kennedys' best frontman Jello Biafra's onetime collaboration with the band D.O.A. produced this hardcore punk gem - 'Last Scream Of The Missing Neighbours' - which fused the best of both bands' sounds, while namechecking every popular and/or political scandal at the time, such as Willie Horton, the Iran-Contra Affair, Oliver North, and the US crack epidemic. Just six tracks on this indelible EP, now reissued via original label, Alternative Tentacle do well to satirize the powers that be in true punk fashion, culminating in the 14-minute military meat-grinder that is 'Full Metal Jackoff'.

Review: Revered as one of U.S. hardcore punk's most humorous, yet politically outraged projects, Last Scream Of The Missing Neighbours is a gem by Jello Biafra (Dead Kennedys) and the band D.O.A., in a collaborative effort that spans every blood-boiler from the gentrification of Colorado to the then nascent (putatively C.I.A.-fuelled) crack epidemic. Less concerned with a piercing sonic aesthetic than getting its lyrical point across, this mini-album was a conduit and awareness-raising exercise in the battle against capitalist doublespeak and is best known for its culminating in the closing fourteen-minute dramaturgy 'Full Metal Jackoff', decrying everything from racial scapegoating to the U.S. military-everything complex.

Review: The Jesus Lizard's return with Rack marks a significant moment for fans of post-hardcore. Their first album since 1998's Blue, this release is a testament to their enduring influence and sound. 'Hide & Seek,' the lead single, is a vibrant track that showcases the band's signature style, with David Yow's vocals leading the charge. The album as a whole feels fresh yet familiar, with nods to their past but a clear focus on new directions. Recorded with producer Paul Allen, the band sounds as tight and energetic as ever, showcasing their remarkable chemistry. Overall, Rack is a welcome return from a band that has left an indelible mark on the post-hardcore genre.

Review: Grunge heroes The Jesus Lizard return after 26 years with Rack, a raw and intense experience reminiscent of their early 90s work with Steve Albini with plenty of the chaotic energy and tight musicianship that defined the band's legacy. The lead track, 'Hide and Seek,' is a rampaging opener filled with hooks that showcase the band's ability to merge aggressive rock with catchy elements. Other tracks, like 'Moto(R)' and 'Lord Godiva,' blend humor and grit, while 'What If?' and 'Armistice Day' explore moodier, more introspective territories. The album maintains a polished yet raw sound, balancing sophistication with pure, punk-rock mayhem. David Yow's vocals remain as unhinged as ever, supported by Duane Denison's piercing guitar riffs, David Wm. Sims' powerful bass lines, and Mac McNeilly's thunderous drumming.

Review: The Jesus Lizard's first new music in 26 years,' Hide & Seek', is out now via Ipecac Recordings, and it's turning heads everywhere. Produced by Paul Allen, the track is a thrilling precursor to their forthcoming album, Rack.. The Chicago noise rock iconsiDavid Yow, Duane Denison, David Wm. Sims, and Mac McNeillyirecapture their legendary raw energy and chaotic brilliance. 'Hide & Seek' boasts hooks and an abrasive edge that Yow humorously questions as "pop." Recorded live at Black Keys drummer Patrick Carney's Audio Eagle studio, Rack features 11 tracks that blend lunging momentum, nuanced instrumentation, and Yow's signature unhinged vocals. The band's chemistry shines, with Yow's confessional lyrics and Denison's piercing leads delivering emotional punch. Embodying the balance between sophistication and punk-rock abandon, Rack will excited 90s rock fans without a doubt. The Jesus Lizard's return is more than a nostalgia trip; it's a reaffirmation of their influential legacy and a thrilling addition to it.

Review: Johnny Thunders might be the greatest deceased guitarist that never fully realised the fame and recognition he deserved - not that there aren't endless examples of that tragedy. Rising to notoriety for wielding a tortured six string with porto-punk deities the New York Dolls, he slashed and burned his way into a solo career, but between 1975 - when said band called time - and 1978, when this guy's first lone work-proper arrived, there was The Heartbreakers.

Review: Legendary California punk label Revelation Records recently celebrated their 200th release with this remastered repress of the forever elusive proto-debut album from New York City based hardcore legends Judge, formed by Youth Of Today guitarist John "Porcell" Porcelly and former drummer Mike "Judge" Ferraro. Aptly titled Chung King Can Suck It in staunch rebuke to the recording studio where the band would track the initial sessions for their 1989 LP, only to be provided with the lowest quality tech room within the facility and left at the whims of a mostly absentee cokehead for engineer (a point made all the more ludicrous when considering the member's near-militant straight edge ethos), upon hearing the final mixdowns, a unanimous agreement was reached to begin all over again at a more suitable location. As the original masters had already been sent to the pressing plant before cancellation, 110 copies were produced before they could "stop the presses", with the band eventually re-recording and releasing what is now the highly revered classic Bringin' It Down, while the Chung King recordings would become a much sought-after fan collectible, so much so that a copy sold on Discogs in 2015 for an absurd $6,048, ranking as the most expensive item sold on the site up to that point. Previously only widely available as part of the What It Meant CD-only compilation, this surprise reissue marks the first time these OG recordings have ever been made affordable on wax, while the newly written/recorded Bringin' It Down closer 'Where It Went' has been omitted with the recordings of the original final two cuts 'Holding On' and 'No Apologies' lovingly restored.

Review: Jazz and punk's best legacies fuse together with this latest collaborative release between The Messthetics and James Brandon. Brandon is a jazz saxophonist and contemporary virtuoso from New York; meanwhile, the Messthetics consist of former Fugazi members - bassist Joe Lally and drummer Brendan Canty with guitarist Anthony Pirog. Continuing the latter's pegging as a 'jazz punk jam', the focus here is on Brandon's novel sax playing, lent to the Messthetics' cathartic, ultimate punk-riffing focus. All is instrumental, as signalled on the lead single 'Emergence', which finds pure enjoyment in variation around a singular four-by-four bass loop. In the saxophonist's own words: "The Messthetics are friends at this point and collaborating with them over the years has now brought us to another high point of musical bonding and purely unapologetic energy!"