Back catalogue: All genres

Review: Howard Devoto, the architect of Manchester's punk scene, once claimed that Magazine's albums were crafted to endure, a sentiment that resonates in their latest offering, No Thyself. Serving as a long-awaited successor to Magic, Murder and the Weather, this album marked a triumphant return after three decades when it landed in 2011. With Noko on guitar and John 'Stan' White on bass, the band skillfully revives the dynamic essence of their early work. Tracks like 'Do The Meaning' and 'Holy Dotage' deliver the urgent post-punk energy that defined their classics, while the more ornate pieces like 'The Worst Of Progress' showcase their more experimental influences. Devoto's acerbic and darkly humorous lyrics remain sharp, reflecting on aging and mortality in tracks like 'Hello Mister Curtis', where he addresses Ian Curtis and Kurt Cobain with wry candour. Amidst familiar sounds, standout track 'Physics' introduces a new direction with its tender melodies.

Review: Secondhand Daylight is the second album by Magazine, released in March 1979 through Virgin. The album marks a move towards a more atmospheric post-punk sound, with increased use of keyboards and intricate arrangements, offering a distinct departure from their debut. Pressed using the re-masters from 2000, this edition comes with a photo inner sleeve featuring an interview with Howard Devoto. Magazine's influence can be traced in later artists like Radiohead and Morrissey, cementing their status as one of the most innovative and enduring bands in the post-punk era.

Review: Miami-born and raised, synth-pop duo Magdalena Bay relocated to Los Angeles and have been blazing a trail with their self-produced music towards the top of the pop world. To celebrate the beguiling aura of their second album, released in August 2024, there's a limited repress of it in a stunning yet chaotic and artsy clear blue. Stacked with bangers, including the ethereal disco single 'Image' and the cosmic electropop epic 'Death & Romance' - which recalls Destiny's Child as much as it does Jean Michel Jarre - Magdalena Bay are clearly brimming with ideas. That they then know how to package these ideas with a cohesive visual aesthetic helps them hugely on their way and at the pace they're going creatively, there's seemingly a glorious road ahead.

Review: LA-based indie-pop duo Magdalena Bay defy the fleeting nature of online trends with their debut LP, an inviting blend of sonic exploration and visual artistry. Entirely self-produced, the music is a testament to Mica Tenenbaum and Matt Lewin's creative vision, a mesmerising journey through abstract theories of time and the "what ifs" of human existence. Tracks like 'The End' and 'The Beginning' bookend the album with a sense of cyclical wonder, while 'Mercurial World' and 'Hysterical Us' delve into the complexities of identity and perception. With its dreamy melodies, infectious hooks, and thought-provoking lyrics, 'Mercurial World' solidifies Magdalena Bay's status as a force to be reckoned with in the world of indie pop.

Review: Makoto Kurita aka. Magical Power Mako was a veteran underground avant-garde rock musician from Japan. His self-titled record, now reissued here - it saliently forewent any unique album cover save for the stock Polydor sleeve - raised all kinds of arcane hell, and went on to furtively pave the way for a yet more exploratory avant-garde renaissance in Japan thereon. Beginning with a faux-newscast about the collapse of the social contract amid gridlocked international politics (Kurita waxes British-accented with his introduction, "throughout the city today, there is chaos... hospitals have no ambulances, fire brigades have no fire engines... the country is paralysed"), as China, Russia and America escalate mutually assured tensions to a bitter triangular chess game. A deeply puzzling concept record ensues, fusing songwriterly charm, balladry and psychic rock, of purposeful provocation, and with no obvious resolution in earshot.

Review: The Magick Brother & Mystic Sister are in fact not a brother-sister duo, but rather a quartet made up of musicians Eva Muntada, Marc Tena, Maya Fernandez and Xavi Sandoval. Active since 2020 and their debut self-titled EP, this light occultic outfit have since built a rep for weaving flying-carpeted tapestries of narration, sonic reverie, and mysticism in album form; their latest record Tarot II is no exception this rule, coming as the second to name itself after the card-reading divination practice common to the Western esoteric world and beyond. Out from an opening, what sounds to be hammered dulcimered prog progression ('Strength') and moving through to a further ten tracks each named after tarot cards (save for the 'Unnamed Arcane', an apocryphal confabulation of the band - have they drawn a hand we haven't?), this is a record of supreme mystique, and one for the witches and warlocks in our ranks.

Review: "Of all the many noble attempts of the prog rockers to create a grand compositional style which blended elements from classical music with rock, none, in my view, ever reached the intensity, complexity and raw savage excitement of the great Magma masterworks." When you make music that feels like the love child of a rock & roll musical, gospel choir, Frank Zappa and Ziggy Stardust, why should anyone expect you to be even remotely humble when describing your own back catalogue. Magma's 1974 epic is nothing short of batshit crazy in the true sense - bordering, perhaps sprinting well beyond, the point of genius and capable of rendering any room speechless. A stunning example of how wild, exploratory and experimental the music industry was once so proud to be.

Review: A poignant celebration of the veteran prog/metal band's final show with founding guitarist and songwriter Tony Clarkin, recorded in December 2022 at the Wolverhampton venue owned by ex-Judas Priest guitarist K.K. Downing. This concert, now immortalised in stunning audio and video, represents the culmination of their The Monster Roars tour and serves as Clarkin's last live performance before his unexpected passing in January 2024. This triple album package coincides with the first anniversary of Clarkin's death. Featuring a mix of timeless classics, newer material and fan favorites, it captures Magnum at their very best, offering a bittersweet farewell to the guitarist who shaped their sound for over five decades. Tracks like 'Kingdom Of Madness', the title song from their 1978 debut, shine as fan favorites and staples of the band's storied career. Live At KK's Steel Mill is both a heartfelt tribute to Clarkin and a reminder of Magnum's legacy as melodic hard rock pioneers, ensuring their music continues to live on.

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: Over the course of fifty years, Kamalesh Maitra devoted himself to the art of tabla playing - specifically playing the tabla tarang, a set of between ten and sixteen hand drums tuned to the notes of a drone and scalic backing. Here on Black Truffle comes 'Raag Kirwani On Tabla Tarang', a quelling new record detailing one of several newly unearthed archival recordings of this late great purveyor of the Indian classical music tradition. Across just two movements in one raga, Kirwani demonstrates an adroit playstyle, slickly promulgating an illusorily multi-armed sound; it's almost unbelievable at points as to how he achieves his various unisons and flams, with several pinpointable moments sounding as if at least three drums are being struck at once. Seated behind a semi-circular array of drums, Maitra produces stunning waves of melodic improvisation enlivened with the rhythmic invention of a master percussionist.

Review: Fifteen years after its original release, Guns Don't Kill People: Lazers Do by Major Lazer remains a genre-defying triumph. The duo, made up of Diplo and Switch, threw dancehall, reggae and electro-disco into a blender and created something entirely unique. Tracks like 'Hold the Line' (featuring Mr. Lexx and Santogold) and 'Cash Flow' stand out, blending Jamaican influences with forward-thinking production. Now reissued on clear vinyl with stickers, this gatefold 2xLP edition brings back the raw, energetic essence of one of the most eclectic dancehall albums ever made.

Review: Malia's new album chronicles her life through songs deeply tied to her personal journey. Spanning 8,200 kms from Malawi to London, where she moved as a teenager, the album is a geographic, musical and emotional odyssey. Featuring 14 tracks from beloved film soundtracks like Midnight Cowboy's 'Everybody's Talkin'' and Top Gun's 'Take My Breath Away,' each song holds memories that shaped her identity and artistry. Malia's voice conveys the little girl, teenager and woman she's been at stages through her life and with her at the heart of the album, she is accompanied by a trusted trio of musicians who bring intimacy and depth to this deeply personal record.

Review: Kali Malone's The Sacrificial Code stands as a defining work of 21st Century minimalism, shaped by years of intensive study. Originally released in 2019, the album emerged from her time at Stockholm's Royal College of Music, where she explored sound, space, and alternate tuning systems under the guidance of organ tuner Jan Borjeson. Stripping composition down to its starkest form, she embraced canons and slow-moving harmonic shifts, slowly but surely stepping into a sound emphasising monumentality. Now, six years later, The Sacrificial Code is reissued via Ideologic Organ, featuring a new 2023 recording of the title track on a 16th-century organ. Malone's self-taught recording techniques bring out the instrument's spirant resonance, creating a time-dilating sound. Less mournful, more tranquil, the new version mirrors the concurrent transformations of music and listeners in step, over time.

Review: Kali Malone's The Sacrificial Code stands tall, meditating on the perception of time through the pipe organ. Originally released in 2019, the album was shaped by Malone's engagement with tuning systems, electroacoustic composition, and Sweden's experimental music scene. Following her apprenticeship with organ tuner Jan Borjeson, she embraced historical temperaments and archaic compositional forms, stripping them down to their starkest essence. Now reissued by Ideologic Organ, this 2025 edition features a newly recorded 'Sacrificial Code III,' captured on the 16th-century meantone organ at Malmo Konstmuseum. Malone's meticulous recording process, from close-micing techniques to the spatial placement of sound, enhances the organ's physical presence, creating an immersive, time-dilating effect. Each chord resounds with the breath of the instrument, as the record's restrained grandeur invites listeners into an amorphous, time-bending experience.

Review: Following the success of their acclaimed debut album, Mama Terra returns with a vivid tribute to one of their major influences, Herbie Hancock, where the group have reimagined his groundbreaking 1973 masterpiece, 'Head Hunters', in a live setting. Recorded at the Glasgow Jazz Festival 2024, the album captures the band's energetic performance and their deep respect for Hancock's music. Mama Terra stays true to the spirit of the original while adding their own unique flavour, replacing the synth parts with a captivating blend of vocals, saxophone, and effects-laden bass. The album also incorporates elements from other Hancock classics like 'Cantaloupe Island' and 'Butterfly', creating a dynamic and imaginative tribute to a true jazz legend.

Review: Initially inspired by a request by long-term supporters Jazz FM to perform a live remake of one of their favourite albums, Herbie Hancock's peerless Headhunters, Chameleons sees rising British jazz-funk and contemporary jazz combo Mama Terra dive deeper into the great man's catalogue on a set recorded live at a gig in Glasgow. In keeping with their own style, they made a conscious decision to replace the formative synth sounds and future-funk influences prevalent on Hancock's work of the 70s and 80s with acoustic instrumentation. It's a bold move but, thanks to their undoubted quality and deft touch, works well. For proof, check the languid and laidback breeze through 'Butterfly', a wonderfully gritty and low-slung jazz-funk re-make of 'Chameleon' and the triumphant takes on earlier Hancock works 'Cantaloupe Island' and 'Watermelon Man'.

Review: If music's power to transport us somewhere else is what makes it such an addictive drug, albums like this swooning, sun-kissed and Latin-flavour jazz delight are class-A contraband. Henry Mancini is renowned for his iconic film and television scores (and you will certainly recognise its here for that reason) and so he won multiple Grammy Awards and a posthumous Grammy Lifetime Achievement Award in 1995. His music became a staple of the easy-listening genre from the 1960s to the 1980s, but also he made significant contributions to jazz, such as this most elegant and soothing work.

Review: The Welsh rock icons' first new studio album since 2021's The Ultra Vivid Lament Door To The River and - remarkably - their 15th studio album. Recorded at their studio in Newport and the legendary Rockfield Studios in Monmouth, produced by regular collaborators Dave Eringa and Loz Williams and mixed by Caesar Edmunds (Beach House/Suede/Wet Leg), the album captures Manics in their melodic prime. James Dean Bradfield's voice is one of the treasures of modern rock - somehow sounding as fresh and powerful as it did in the 90s. On the single 'Decline & Fall' you can hear the immediacy and synths and guitar sounds coming together like a fireworks display celebrating the opening of a new chapter. We even get, if not quite a diss track then certainly a retort song, to a certain Mr Morrissey in the shape of 'Dear Stephen', in which Nicky Wire concocts an imagined belated reply to a postcard he genuinely received from the Smiths singer back in the 80s. The Manics don't have anything to prove at this stage of their career, but the fact they keep knocking it out of the park is astounding. Long may they keep finding this type of form.

Review: This 15th album from The Manic Street Preachers sits snuggly with all the bands' previous releases. Hints of irony, at times it's anthemic, euphoric, one that's difficult to put down and a collection of music that offers hope and belief yet again that the world can and will become a better place. It's an album bookended by songs with Nicky Wire on lead vocals. On opening (title) track 'Critical Thinking' he tells us "It's OK to not be OK!" and to believe in ourselves. 'Decline and Fall' that follows could be one of the best songs the band have written for years. It reminds us of everything we've always demanded from the band, a rousing chorus ready for airing in large arena's (as do many of the songs on this album) and for a selection of music that may have started a little slowly, 'Brushstrokes of Reunion' continues the comforting audio experience these fifty somethings remain capable of providing after over three decades of their existence. This again boasts another infectious chorus you want to be singing long to after just a single listen. Then we're back with Nicky Wire singing on 'Hiding in Plain Sight', his best vocal performance on the album and 'Dear Stephen', a heartfelt message to Morrissey (but one 'with no moral judgement' according to the writer) inspired by a postcard sent from Morrissey in the early 1980's. The following track 'Being Baptised' boasts a guitar sounding not a million miles away from one Johnie Marr would have put his name to. The second half mirrors the first half dozen songs. 'My Brave Friend' and 'Out Of Time' Revival are certainly songs worthy of being a singles, 'Deleted Scenes' is another arena ready anthem and Late Day Peaks recognisers a decline in the creative industry ("So move indoors, be happy to hide, avert your gaze as the cinemas die") - All vintage Manics material that is just as identifiable as everything the band have provided us with in the past. Final track 'OneManMilitia' is a collection of soundbites that could easily have sat comfortably on Generation Terrorists. It's a great way to wrap up the album. Critical Thinking is an album you won't want to put down after first listen, it's the next chapter of the Manic's story, one that still doesn't feel as though it's about to end and there's nothing on this album gives you the feeling they're not ready to let anyone down just yet.

Review: US rock demon and counter-cultural musical star Marilyn Manson returned with his bold, provocative album on vinyl last year and now it arrives on CD. Known for pushing boundaries across his long career, Manson delivers another dark, gripping collection of industrial rock here that is full of haunting melodies and intense vocals that brim with menace. The album explores themes of power, corruption and rebellion all wrapped in his signature shock value and unique expression. With unsettling lyrics and atmospheric sounds, Manson creates a twisted, dystopian world that pulls listeners deep into his confrontational style and is sure to win over fans old and new once more.

Review: Returning with his redemption attempt follow up to 2020's We Are Chaos, industrial metal shock-rock provocateur Marilyn Manson seeks to skirt the numerous controversies and accusations accrued in the last few years with his most potent musical statement in decades. Signing with Nuclear Blast and enlisting the likes of Chelsea Wolfe collaborator/producer Tyler Bates to helm the project, his 12th full-length One Assassination Under God: Chapter 1 (indicating that more is sure to follow), offers up some of the heaviest and introspective material of his career to date, with cuts such as 'Nod If You Understand' harking back to the unhinged angst of Antichrist Superstar, whereas 'As Sick As The Secrets Within' breathes with the same mercurial synth-gloom as the strongest moments on Mechanical Animals. A cynical attempt to regain fan adoration, or the sound of a tortured artist finally coming to terms with his own demons and attempting to rediscover former glory and prowess, the interpretation is entirely your own to consider.

Review: The somewhat surprising return and attempt at redemption from the industrial metal shock-rocker Marilyn Manson has been a bold pill to swallow, with the once iconic provocateur seeking to avoid the many allegations and numerous controversies he has garnered over the last decade. Attending rehab and becoming fully sober over the past few years has seen dramatic weight loss, a notably more lowkey public demeanour and a newly signed record deal with Nuclear Blast (having been dropped by Loma Vista not long after 2020's We Are Chaos) turn a few heads, simultaneously cautious and curious as to the authenticity of this humble arc. With lawsuits recently thrown out, the court of public opinion appears to be the only form of due process that shall occur, leaving it to individual listeners to make up their mind as to the merit of the artist as a person. As to the art itself, One Assassination Under God: Chapter 1 is the 12th album to adorn the name Marilyn Manson, and it's his best since 2000's Holy Wood. Tapping Chelsea Wolfe collaborator/producer Tyler Bates to oversee the entire project has helped to create a generational bridge between how out of sync Manson himself had become with his own artistic strengths and audience desire, and Bates' insider knowledge as a younger fan first, collaborator second. Together they rediscover the core industrialist menace, gothic romanticism and hedonistic nihilism that kept listeners hooked after the initial shock of aesthetic would cease, but for the first time in decades, it feels earnest and earned rather than forced. Boasting Antichrist Superstar style buzzsaw synths and chug-heavy breakdowns on cuts such as 'Nod If You Understand', while the self-deprecating admission of using drugs to hide behind monstrous flaws on the gloomy balladry of 'As Sick As The Secrets Within' harks back to the most fragile moments of Mechanical Albums. Be it a cynical cashgrab or attempt to regain fan adoration, or the genuine musings of a tortured artist finally learning to face his own demons head on, there's simply no denying that this is Manson at his most potent, intimate and focused, begging the question of how different of a career trajectory and latter day output might we have had if the man had learned to look inward long before hitting the bottom.

Review: Lazaro Pla AKA Manteca is undoubtedly a Cuban musical legend - even if the bongo maestro only recorded a handful of albums as featured artist and bandleader. 1978's Rito Y Sabor, a percussive masterpiece made up almost entirely of drums, timbales and bass, is the most celebrated of these - and in general, one of the hardest to find. Created by Pla and a handful of musicians, it delivers an enticing mix of infectious Afro-Cuban grooves, sweat-soaked percussion solos, bold basslines and occasional (and often mixed-down) piano motifs. Highlights include Latin jazz dancefloor bombs 'Casas De Manteca' and 'Afro Funky', and the Incredible Bongo Band style brilliance of 'Abacua'.

Review: Since 2018, the Marble Elephant duo has been colliding drum & bass, deep dubstep and future garage into suns that are both physical but rife with emotion. Truth is a full length which goes deep into their style and shows how versatile they can be. There are atmospheric, immersive sound worlds like the title cut next to glitchy, skeletal garage workouts with sunny melodies like 'Believe', ambient jungle soothers like 'Serenity' and Burial-esque late night cuts like 'Discovery'

Review: Zoltan Nagy AKA P60 has spent the last four years slowly building up his Midnight Fashion label and its dedicated downtempo offshoot, Midnight Fashion Chill. Following a handful of solo EPs on the latter imprint, Nagy has now decided to offer up a first imprint compilation - one that not only showcases his work, but also that of Marcel (AKA sometime Cookin' Records artist Marcell Dudas) and Plastic City regular Forteba (AKA Hungarian stalwart Krisztian Dobrocsi). Musically, the set lives up to its' title, offering an enticing and undeniably blazed mix of DJ Calm style trip-hop, warming 1990s style downtempo grooves, slow-burn Baleric soundscapes, Onra-esque neo-boogie beats and warm, deep and languid, jazz-flecked mid-tempo house.

Review: ***B-STOCK: Sleeve split at the top but otherwise in great condition***


Zoltan Nagy AKA P60 has spent the last four years slowly building up his Midnight Fashion label and its dedicated downtempo offshoot, Midnight Fashion Chill. Following a handful of solo EPs on the latter imprint, Nagy has now decided to offer up a first imprint compilation - one that not only showcases his work, but also that of Marcel (AKA sometime Cookin' Records artist Marcell Dudas) and Plastic City regular Forteba (AKA Hungarian stalwart Krisztian Dobrocsi). Musically, the set lives up to its' title, offering an enticing and undeniably blazed mix of DJ Calm style trip-hop, warming 1990s style downtempo grooves, slow-burn Baleric soundscapes, Onra-esque neo-boogie beats and warm, deep and languid, jazz-flecked mid-tempo house.

Review: British Bantu visual artist and musician Zola Marcelle shares her debut album, an ingenious ten-track record of ancestral musings, ethereal sound-dreamscapes and narrative vignettes, informed by soul, broken beat, and the musics of Zimbabwean Shona and South African Sotho. A riveting journey back through bloodlines and future-past hopes, Marcelle brings an impressively playful vocal and etheric attitude; opener 'Highlight' is an invitingly tender funky jazz primer, against which Zola speaks, outlining eternally recursive goals for life; the latter half of the record is more quelling, with 'Kgotso' building on the Sotho word for "stillness" to convey the later feeling of loitering in God's waiting room, while the B-side builds 'Saturn Drive' and 'Beyond' circle back to softly intoned Afro-beatifics.

Review: Brazilian rapper Marcelo D2 shares the release of new direct-to-disc album via Night Dreamer. Recorded alongside electrifying live band Sambadrive, the album revisits some of Marcelo D2's most important tracks, mining 25 years of groundbreaking music from the Brazilian legend, and capturing his now timeless 'samba hip-hop' sound in full flow. The aforementioned is an unusual yet compelling sound, marking the voice and style of a torchbearer and innovator, and not the last to be marked by the motto "looking for the perfect beat". Now, in 2024, D2 retells his story from a new perspective. Inspired by the iconic jazz-samba trios of the 60s and 70s, Sambadrive emerged from the improvised and often spontaneous jams that would preface Marcelo D2's live shows. Touring the world and reuniting with producer Mario Caldato Jr., the group dropped in on Haarlem's Artone Studio in October 2022 to record an album of 10 tracks, drawn from four of Marcelo D2's most loved albums.

Review: This is the first-ever reissue of Gianni Marchetti's 1978 LP Solstitium, which was originally released as part of RCA's "Original Cast" series in limited promo copies and has long been considered one of the most rare and enigmatic pieces of Italian library music. Library music was primarily created for television, radio and film but often yielded hidden gems that fused jazz, lounge and soul into storytelling vignettes of sounds. Marchetti's wonderful Solstitium is a prime example of innovation within this space which rightly remains a classic in the history of Italian music.

Review: Gianni Marchetti's 1977-78 LPs Equinox and Solstitium are truly rare gems from Italy's library music scene. Long thought lost, these tracks were unearthed from original DAT tapes and remastered for vinyl. They are loved for their ethereal, imaginative compositions as Marchetti's work blends driving rhythms, lush strings and intoxicating jazz sounds that offer a cinematic, dreamy feel. These albums, previously promotional-only and still highly coveted by collectors, now shine as part of Dialogo's initiative exploring RCA's "Original Cast" series. They lay bare the brilliance of Italian library music.

Review: Italian-born, German-based Marco Shuttle's first release on Astral Industries is built from field recordings taken in Colombia's Tupana Aru U nature reserve. Blending organic sounds with electronic manipulation, it captures the essence of the rainforest through both natural and synthetic elements. 'Part one' layers distant wildlife, dripping humidity and low-end pulses, while Part two shifts into abstract territory with reverberating echoes and shadowy percussive patterns. A final spoken passage from an indigenous guide provides context, grounding the work in real-world experience. The release offers a sonic study of a disappearing ecosystem, with proceeds supporting Amazon Watch. Shuttle shapes the sounds of the rainforest into something urgent and thought-provoking.

Review: Carpet of Fallen Leaves serves as the luminous introduction to Eddie Marcon, a folk-pop project from Eddie Corman and Jules Marcon. The collection takes in more than two decades of intimate, self-released recordings that all bring fragile beauty and melodic grace from Japan's underground psych-folk scene. Gentle guitar, soft organ and deft bass interlace with pristine vibraphone, flute and pedal steel sounds to form sparse and spare yet intricate arrangements. Collaborators like Ikuro Takahashi and Shintaro Sakamoto add their own contributions, and so songs shimmer with a real emotional depth and Eastern charm. Highlights like 'Tora To Lion' and 'Shoujo' inspire quiet wonder while capturing fleeting moments of everyday life with a real tenderness and elegance.

Review: The debut release from Hebrew Israelite vocalist, songwriter and multi-instrumentalist Margeeah Aharon was recorded in July 1983 with the Kingdom Sounds community band in Tel Aviv. This deeply introspective blend of jazz, soul, funk and reggae is guided by Margeeah Aharon's soothing yet resolute voice, imbued with a meditative graceidrifting between the searching melodies of 'Bring The People Home' and the deep-rooted spirituality of 'Rise Black Spirit', while 'Music Is My Love' glows with warmth and devotion. The reflective 'Daughters Of Zion' and the title track capture Aharon's gift for meditative storytelling, where faith and longing intertwine. Decades later, the album's messages of love and self-discovery are as vital as ever.

Review: Hallucinating Love, Maribou State's third album, is their most personal yet and was crafted amid intense challenges. After scrapping initial drafts, Chris Davids and Liam Ivory created the album as a form of "musical therapy" to help them reconnect and heal. With soaring strings, evocative samples, and guest vocals from Holly Walker and Andreya Triana, Hallucinating Love captures both intimacy and grandeuriperfectly suited for Ninja Tune's indie sensibilities and a fitting soundtrack for hopeful, communal reunions.

Review: Maribou State's Hallucinating Love is their first record in over five years, following 2019's acclaimed Kingdom In Colour (which concluded the mid-to-late 2010s in which the pair shot to superstardom). Centring on one core theme: togetherness, it tells the fraught yet reinvigorating tale of late mental health diagnoses, pandemic lockdowns, peaks and troughs of inspiration, rest and recovery and time spent honing and reforming their core craft. Battling several several health problems and impasses, the duo of Chris Davids and Liam Ivory have beaten the odds here, once again crafting a wonder of a dance record, which builds on their distinctive downbeat-upbeat funk-pop style whilst still forming a swell sonic backbone for what is sure to be one of the dewiest of oncoming British festival seasons, spring and summer 2025.

Review: Marie Guerin, or maybe you know her as Marie de la Nuit, is a sound artist who has explored field recordings, radio archives and "hertzian ghosts" for almost a quarter of a century since her debut in 2001. Her work blends voices, textures and ambient sounds that examine sound heritage and its preservation. Transportees is an electroacoustic composition that connects archaic and electronic trance and in doing so weaves a musical thread from Brittany to Tunisia. It follows a trance-like journey through recordings and oral traditions, all rooted in Guerin's passion for archives. The album reflects her fascination with capturing and preserving songs and transforming them into a soundscape that bridges past and present.

Review: Returning with his first full-length since 2020's David Bowie-indebted We Are Chaos, while more notably marking the industrial metal goth icon's return to the spotlight following a series of troubling allegations that seemingly appear to now hang in limbo, One Assassination Under God: Chapter 1 shall serve as the 12th full-length studio endeavour from Marilyn Manson. Co-produced with frequent Chelsea Wolfe collaborator and film scorer Tyler Bates, the material boasts some of the most synth-laden, new wave winking and direct metallic rock bangers the mercurial yet questionable figure has dropped in almost two decades, making for a sonic victory lap of sorts as Manson attempts to rebuild his brand and aesthetic.

Review: Marilyn Manson is back with another of his famously bold and provocative new albums, One Assassination Under God: Chapter 1. Mansn has always been known for pushing boundaries - as well as buttons - and comes through again here with a dark and gripping collection of tracks that blend his usual tropes of industrial rock, haunting melodies and raw, intense vocals that come from deep down inside and ooze with menace. This album explores themes of power, corruption and rebellion, all wrapped in Manson's signature mix of shock value and unusual expression. It adds up to a journey into a twisted, dystopian world filled with layers of atmospheric sounds and unsettling lyrics so is perfect for fans of Manson's uniquely confrontational style.

Review: GRAMMY-nominated r&b artist Mario keeps up his reputation for being rather prolific with a sixth studio album produced by James Fauntleroy. Inspired by legends like Marvin Gaye and Michael Jackson, Mario showcases his twist on the age-old hip-hop craft which has been honed over a 20-year career. The album features intimate storytelling and is accompanied by lush instrumentation as well as some signature emotive vocal performances that draw you into his vivid world. By adding a healthy dose of classic influences to his own sound, Mario shows he can still kick it with the kids here.

Review: Starting at 'Dawn' and closing on 'Dusk', this is the arrestingly cyclical debut record from Polish multi-instrumentalist and composer Olga Anna Markowska. Deploying zither, cello, electronics and occasional wordless etheric voice, Markowska makes a slow work of the ethereal idiom, threshing her inspirations from a desire to "reconnect with (the cello), an instrument I've known intimately since childhood." For unexplained reasons, Markowska had to take time away from said extra luthier's limb for a limbo period of two years, in which new breathing space for creativity was to be found. The intense lulls and drastic highs heard here are a testament to this theme of reignition.

Review: The exquisite 1974 debut album by American pianist, guitarist, producer and songwriter Gary Marks hears a deserving reissue through Lantern Heights. Now a published fiction and non-fiction author, Marks' early musical career ended all to shortly, and was Marked sonically by sweetened contemporary jazz and folk arrangements, heard best on this homeward but still subtly cosmic opening statement of an LP. The open-ended, pathetic-fallacious 'Sherry's Song' is our twinging piece de resistance, with Marks serenading a young flame as the object of his gushing folksy affections, while the immediate follower 'Gathering' indulges a completely "other" set of progged-out emotions. 'We Free' unites the two through a bossa nova downturn, and 'A Gina Theme' isolates the vibraphone in a kind of giant sonic glasshouse, serving as one of several interludes that steadfastly beautify the record.

Review: If you were indeed wondering why, well, Gary Marks doesn't claim to have the answers. Amid an honorary reissue campaign of this under-storied musician's early LPs by P-Vine (after he moved on to become a published fiction and non-fiction writer), Marks' third record from 1978 stands out among this folky jazz singer's best. After his debut record Gathering and then the sophomore Upon Aonda's Wing, this ponderous yet sprightly record follows Marks' relocation to the West Coast of the USA in 1976, after which he began working with Art Rande and Oregon member Paul McCandles. Considered his masterpiece by many, this hidden avant-garde folk jazz diamond contains stirring narratives, cathartic piano ballads, and hum-along heart-pinchers, weaving twin threads of personal disclosure and mystery Americana.

Review: Bob Marley remains a towering figure in world music many years after his death. His work to popularise reggae around the world is never likely to be equalled, which is why we keep on coming back to his grand canon. This label in particular has done a fine job of shining a light on it. After the success of Trenchtown Rock, Small Ax, and All in One, here comes the final chapter of this quadriptych of albums dedicated to Marley's musical legacy. It's a jam-packed collection that mixes up incandescent grooves with universal messages and takes in plenty of his lesser-known jams on a nice acid-yellow vinyl.

Review: This electrifying 1973 live broadcast captures Bob Marley & The Wailers during their US tour supporting the Burnin' album. Originally aired on KSAN-FM, the set showcases the legendary lineup of Bob Marley, Peter Tosh, Aston "Familyman" Barrett, Carlton Barrett, Earl "Wire" Lindo and Joe Higgs, all of whom were at the peak of their powers. The album takes in standout cuts from Burnin', including unforgettable contributions from Tosh and the performance follows their short-lived stint touring with Sly & The Family Stone. It's an unfiltered, visceral document of reggae history in the making that reflects the Wailers' seismic impact just before they exploded into international stardom.

Review: A formative moment in the Wailers' illustrious career and, as the title of the album would suggest, a pivotal record in reggae history, marking the Wailers' evolution into a socially conscious powerhouse. Originally released in 1970 under the production genius of Lee 'Scratch' Perry, the album features the Wailers' transition from ska roots to the deeply introspective and groove-laden sound that would define their legacy. Now reissued on striking blue smoky vinyl, this release offers fans a beautifully remastered glimpse into the early brilliance of Marley, Tosh, and Livingstone. From the hypnotic title track 'Soul Rebel' to the r&b-infused 'Try Me', the album ability to blend heartfelt lyrics with understated yet compelling instrumentation. Tracks like 'My Cup' and 'Souls Almighty' exude a raw charm, with Perry's minimalist production accentuating the trio's vocal harmonies and the dominant, pulsating basslines. Tosh's contributions, including the reflective 'No Sympathy' and the urgent '400 Years', add depth and edge to the record, balancing Marley's easygoing delivery with a sense of defiant purpose. Despite its stripped-down approach, Soul Rebels brims with atmosphere, offering an entrancing listening experience.

Review: US art rockers The Mars Volta's latest project reveals an ambitious dual-disc journey, encompassing their sprawling range of experimentation. Early tracks like 'Fin' and 'Reina tormenta' establish a dense atmosphere, full of the band's signature unpredictability, with fluid transitions between moments of stark aggression and delicate, jazz-inflected interludes. The album's progression is marked by tracks such as 'Mictlan' and 'Nefilbata', where intricate rhythms are paired with surreal, often dissonant melodies, evoking the mysticism and chaos of their thematic inspirations. As the second disc kicks off, 'Celaje' and 'Vocifero' provide a cinematic depth, layering intricate percussion with droning, otherworldly synths, shifting the mood into darker territories before 'Mito de los trece cielos' bursts through with frenzied energy. The reprise of 'Cue the Sun' and the closing track, 'Lucro sucio', bring the journey to a close, suggesting a moment of reflection within the album's labyrinthine structure. While the album's tracklist is as labyrinthine as their sound, what stands out is the way The Mars Volta remain resolutely themselvesieffortlessly blending their psychedelic rock heritage with new, complex influences, creating something fresh, while never losing the raw intensity that made their earlier work so iconic. This album feels less like a return and more like a rediscovery of what makes them so vital.

Review: Here comes a reissue of Bruno Mars's much-loved debut album from 2010 on limited neon yellow vinyl. Doo-Wops & Hooligans set the signature sound for this now global pop favourite with its vibrant blend of pop, r&b, reggae and soul all of which helped to launch him into global stardom. Featuring iconic hits like 'Just the Way You Are,' 'Grenade' and the laid-back anthem 'The Lazy Song' the album is a great testament to Mars' knack for crafting catchy melodies and heartfelt lyrics with production by The Smeezingtons that balances upbeat tracks with emotional ballads, infectious energy, smooth vocals and timeless pop goodness, which is why it won so many awards.

Review: Known as much for their outlandish costumes as their constant musical evolution, Martin Circus were one of France's most intriguing bands of the 1970s and 80s. Originally formed in 1969 as a psychedelics-inspired progressive rock combo, they later successfully turned their hand to wonderfully camp, over-the-top disco and synth-sporting new wave. Evolution Francaise 1969-1985 does a brilliant job of charting that remarkable musical evolution, dashing between tail end of the 60s prog sounds ('Tout Tremblant De Fievre', 'Facon de Parler'), early Black Sabbath-esque heavy rock ('Annie, Christine ou Partricia'), gritty, Rolling Stones style rhythm and blues ('A Bas Tous Le Privileges'), psychedelic disco-rock ('Les Indiens Du Demier Matin'), Cerrone-ish throb-jobs ('Mon Premier Hold Up', Francois K re-editing 'Disco Circus') and synth-pop ('J'tai Vu Dans Le Canoe?').

Review: Has any band undergone such a radical musical evolution as Martin Circus? The French band, formed in 1969, initially explored psychedelia, heavy rhythm and blues and formative progressive rock, before pivoting to Cerrone style disco, new wave and eventually, synth-pop. Evolution Francaise 1969-85 does a great job in charting this sonic journey on one action-packed compilation, chronologically serving up such heady musical highs as 'Annie, Christine ou Partricia' (a heavy rock-meets-The Rolling Stones workout), 'Les Indiens De Demier Matin' (psychedelic disco-rock), 'Mon Premier Hold Up' (their most Cerrone-esque number), 'Disco Circus' (their most famous cut, here re-edited by Francous Kevorkian) and 'J'Tai Vu Dans Le Canoe?' (quirky synth-pop).

Review: Cliff Martinez's soundtrack is a full realised musical world that is defined by eerie synths and pulsating rhythms, all of which perfectly capture The Neon Demon hypnotic and unsettling atmosphere. Martinez is well known for his work on Drive and Only God Forgives and here once more delivers a score that is both haunting and seductive while mirroring the neon-lit world of fashion and obsession. The soundtrack weaves dreamy, ambient textures with dark, throbbing electronic undercurrents that draw you in and highlights include 'Neon Demon' and 'Mine' which pulse with icy beauty and mean this one stands as one of Martinez's most evocative and chilling compositions.