Review: Portishead's limited edition 10" vinyl release showcases live renditions of 'Sour Times' and 'Roads', capturing the band's signature trip-hop essence. Recorded in 1998 at The Warfield in San Francisco and Norway's Quart Festival, the tracks highlight Beth Gibbons' haunting vocals and the group's atmospheric instrumentation. The minimalist red sleeve with debossed cover adds a tactile dimension, making it a must-have for collectors and fans seeking a tangible connection to Portishead's live artistry.
Review: This noise pop group's impeccable debut album is being re-released as part of its 15th anniversary celebrations. The Kip Berman-led band burst out of the 00s Brooklyn indie scene and onto global cult success when it was released thanks to their idiosyncratic style and nods to the likes of pre-Creation My Bloody Valentine, The Pastels and Black Tambourine. The record shows an aesthete's ear for producing stylish guitar tones and drum sounds as they conjure a dreamy, atmospheric wall of sound, which strikes the right balance between shoegaze and jangle pop. With music as taut, melodic and viscerally enveloping as this, it's no wonder Berman's life changed irrevocably after its release. Rarely do debut albums gain this level of acclaim and honouring it with an anniversary edition and tour is the righteous thing to do.
Review: Influential Hamburg band Palais Schaumburg's self-titled 1981 album takes some beating. It is one of German alternative music's most accomplished and critically acclaimed works, with hardcore prasie from those who know. Fusing rock, new wave and experimental across 10 timeless track, it mixes tight post punk rhythms with dubbed out vibes and avant-garde ideas. This deluxe reissue of Holger Hiller, Thomas Fehlmann, Ralf Hertwig and Timo Blunck's best record includes all tracks from the original album on a nice red slab of wax with a new insert
Review: Electronic duo Pale Blue releases their highly anticipated second album 'Maria' on Crosstown Rebels. With eight captivating tracks, the long-player takes listeners on an immersive electronic journey. Mike Simonetti (Italians Do It Better) and Elizabeth Wight (Silver Hands) formed the outfit in 2015, gaining acclaim with their debut album. It showcases Wight's personal experiences and thoughts through her lyrics, accompanied by techno-infused melodies that lean towards rock influences. From dreamlike melodies to haunting productions, the album seamlessly blends electronica with pop touches.
Review: This expanded edition of Pale Saints' third and final album Slow Buildings is a real doozy for fans of the English alt-rock and shoegaze outfit. The original is a long-out-of-print classic that has been sympathetically remastered here after originally arriving back in 1994. The album captures their transition into more open, melodic territory while retaining the dense guitar textures and experimental spirit of their earlier work. Meriel Barham's vocals shine as caller as always, particularly on standout single 'Fine Friend,' which was adapted from Persian Rugs' 1981 track. This two-disc reissue includes the Fine Friend EP and a curated trove of unreleased demos and tracks that make it an essential addition for completists.
Review: Britain is on the very cusp of the post-Thatcher era, mistakes not necessarily learnt from the past 11 years, but certainly evidence mounting for the failure of individualism and the importance of communities. Change is needed, and change is what the next decade would bring. Some of which began with this album, unveiled in 1989, now regarded among the best shoegaze outings of all time. The label doesn't sit that well with us, though. There's just too much else happening with Pale Saints' pacy, expansive and utterly compelling debut. Post punk accents, eruptions into (and introductions based on) pure noise, and surrealist dream pop. Presented here in a new collector's edition, featuring recordings from the band's seminal John Peel session and demos, we couldn't think of a band so deserving of being discovered by a new generation, and re-celebrated by those who were there at the time.
A Thousand Stars Burst Open (Brass Band version) (3:09)
Revelation (Brass Band version) (2:33)
Review: 4AD turn back the clock to take a look at Pale Saints' breakthrough album, In Ribbons. Striking a note between the prevalent shoegaze of the era and 4ADs earlier ethereal sound, this is a record which absolutely conjures a specific moment in time and yet has aged very well. In the bittersweet pop nous of tracks like 'Thread Of Light' you can hear contemporaries like Lush, but equally Meriel Barham's vocal delivery reaches through time and lands with as much conviction now as it did back then. With a smart balance between bruising riffs and dreamy atmospherics, In Ribbons sounds in rude health on this remastered, commemorative edition and any shoegaze or early indie fan should be all over it.
Review: Fabiana Palladino's long-awaited debut album brings plenty of smooth and high gloss sound back to the fore. Following the end of a significant relationship, Palladino uses the album to delve into themes of love, loneliness, and relationship norms and in the process crafts a ten-track album that superbly blends r&b, soul, pop, and disco influences from the 80s and 90s with a contemporary twist. Self-produced and featuring collaborations with notable musicians like Jai Paul, Pino Palladino, Rocco Palladino, Steve Ferrone, and Rob Moose, the album is a classy journey through shapeshifting sonics and intimate introspection, marking a significant milestone in Palladino's musical journey.
Thank You For Talking To Me (When I Was Fat) (7:58)
Ode To Mark White (5:49)
People's Free Food Program (5:25)
Barfighter (6:08)
Rainbow Of Gloom (6:51)
Devil Tongue (6:26)
Review: David Pajo, the enigmatic musician behind Papa M, makes a bold return with a collection that straddles grit and grace, diving into new sonic depths after six years away. Known for his understated brilliance, Pajo shifts from the acoustic delicacy of A Broke Moon Rises to a bolder, rock-infused energy. Across six tracks, he merges structured riffs with improvised solos, crafting a unique sound that recalls bluesy rock influences, with subtle nods to the dexterity of guitar legends like Billy Gibbons. The single 'Ode to Mark White' highlights Pajo's experimental flair, utilizing waltz time to create a hypnotic rhythm that's both fresh and familiar. Recorded solo, the album captures Pajo's knack for live, spontaneous creativity, blending haunting ballads with driving grooves that underscore his versatility. A founding member of the post-rock outfit Slint, Pajo's influence extends through collaborations with Stereolab, Will Oldham and Tortoise, shaping his legacy as a genre-bending innovator. Here, he brings his classic ingenuity into focus, proving yet again that his music defies easy classification, balancing raw power with artful restraint.
Review: Papa Romeo's debut LP, Late Night Load Out, encapsulates their journey through dreamy indie rock, ambient jazz and post-punk influences. Chronicling their formative years gigging across Ireland, the album reflects the highs and lows of late-night gear hauls after shows. Now based in London, their music has garnered support from DJs and broadcasters, with singles gaining traction on BBC 6 Music and NTS. With appearances at prominent festivals and sold-out shows, Papa Romeo has established themselves as a versatile act, earning recognition as an Artist to Watch for 2024 by Hot Press Magazine. Late Night Load Out not only showcases their musical range but also their ability to captivate audiences, making them a promising addition to the indie scene. A very exciting debut album to check out.
Review: L.A. songwriter, producer, and performer Jerry Paper, also known as Lucas Nathan, is back with a rather impressive tenth studio album, INBETWEEZER. This new and vital collection features a blend of crooning rockers and bubble-pop jams that do a good job of showcasing the artist's playful and experimental spirit. The album delves into complex emotions as he embarks on a journey of "radical growth" through therapy and ultimately discovers the path to becoming a therapist. Each track grapples with themes of change, unlearning past behaviours and the continuous cycle of personal development. As such this is more than just a good listen is a thought-provoking work that prompts lots of inward reflection as you experience the artist's introspective exploration and joyful creativity.
Review: Dark Entries welcomes back the Brussels brothers Jean-Marc and Pierre Pauly for this superb collection of B-sides and unreleased tracks. Formed in 1981, Parade Ground pioneered a more emotional take on their homeland's signature electronic body music sound by blending drum machines icy synths and guitars with Jean-Marc's powerful vocals. The Hidden Side spans 1982 to 1989 and explores their cold, dark aesthetic from menacing coldwave tracks to danceable cuts like 'Hollywood (The Sexiest Fish') to magically melancholic freakouts like 'Looking Through Keyholes'.
Review: Parade Ground is the Belgian duo of brothers Jean-Marc and Pierre Pauly and they formed this project in 1981 as a way of blending post-punk, coldwave and electronic body music. The Golden Years compiles their influential singles and rare tracks from 1982-1988 and it's a great window into their world of sleek synths, skeletal guitars and expressive, evocative vocals. Collaborating with Front 242's Daniel B. and Patrick Codenys, Parade Ground released seminal works like Moan On The Sly and Man In A Trance and later they worked with Wire's Colin Newman on Dual Perspective. This remastered album includes a press kit with lyrics and photos which chronicle their lasting impact on Belgian electronic music.
Review: The ultimate sleeper hit, All We Know Is Falling was the great almost for Paramore, the Tennessee emo outfit who would go on to huge things, just not as an immediate result of this album. Having recorded the emotionally charged guitar anthems that make up the record in Florida, the group were advised to allow word of mouth do its thing and slowly build a cult following.
In some ways it was shrewd - they now have a lot of loyal disciples - from other perspectives it wasn't, with this outing failing to enter the Billboard 200 chart when it was released in 2005. Skip forward to 2014, though, and thanks to the success Paramore became, and the blessing of fans looking into their back catalogue, All We Know Is Falling was certified gold in the US having already achieved that coveted status in the UK a few years earlier. Which makes perfect sense given this is benchmark setting stuff for the genre.
Review: Here's something you don't come across that often: a "live" album that captures straight-to-tape (literally) studio recordings rather than a performance in front of the paying public. In Parcels defence, the results are impressive, in part because their chosen location, legendary Berlin institution Hansa Studios, boasts the kind of analogue recording and mixing equipment that neatly fits their warm, mixed-up trademark sound (think West Coast rock, blue-eyed soul, funk-ruck fusion). Many of the songs segue into each other as they would during a live performance, with new interludes and previously unheard songs adding a frisson of disco-fired dancefloor goodness to proceedings. It might not be a pure live album, but it's a hugely enjoyable listen.
Review: Ultra-vintage reissued psych-pop from Parsley Sound, whose self-titled debut for Mo Wax was one of the label's most prized releases, and yet ended up massively inflated in price due to early sellouts and low pressing numbers. The duo / band made up of Danny Sargassa and Preston Mead are deft emulators of full-band sonics, producing the illusion of a wider ensemble; Parsley Sounds followed the early EPs 'Ease Yourself And Glide' and 'Twilight Mushrooms', but was comparatively much softer on the ears, charming the listener with its herbal pan flutes, downtempo era string segments, and not-too-heavy 70s throwback haunto-pysch cult propulsions. Clearly an early influence of now colossal cognates of the sound like Caribou and Four Tet, Parsley Sounds is essential heads' listening for those who wish to lead a certain uncanny, chintzy still life, yet who also know something of the restless beauty of said life. A5er 'Ocean House' is the expansive ballad that proves this, finding a lo-fi yet cavernous vocal opportunity in an otherwise claustrophobic cranny of sound.
Review: We still remember when the first Passion Pit album dropped. We've probably still got the promo CD on our increasingly disorganised and - sadly - dusty shelves,. 2007, when Manners landed, was a strange time in music, and one that was as much about looking forward with fresh ideas as being unsure about to where to go next. Dance music had taken a long-overdue dive back underground, falling from mainstream popularity faster than you could say "the superclubs have closed". Indie was running out of guts and originality. Hip lost in commerciality. Passion Pit, among several other acts, were a breath of fresh air then - a hybrid sound both polished but chaotic, synth-y but live, optimistic and unapologetically big. The result was a unifying record that could bring tribes together, fittingly often defined by huge choruses comprising multiple voices crying out with emotional resonance. Don't give up, there's still plenty left that hasn't been said.
Review: The release of any new Peaking Lights record is cause for celebration, but there's something extra-exciting about The Fifth State of Consciousness, the husband-and-wife duo's sixth studio set. It's colourful, psychedelic, vibrant and unashamedly sunny, offering a thrill-a-minute ride through kaleidoscopic synth-pop, wide-eyed Balearica, humid reggae-pop and hazy, sunrise-friendly goodness. There are few surprises, of course, but a wealth of thoroughly brilliant, emotion-rich, head-in-the-clouds moments. Highlights include the chiming Balearic rush of "Wild Paradise", the early Pet Shop Boys in dub drowsiness of "A Phoenix & A Fish", and the dreamy, wall-of-sound shimmer of "Love Can Move Mountains". In other words, it's the aural equivalent of coming up at dawn on a secluded Californian beach.
Review: Pearl & The Oysters, made up of duo Juliette Pearl and Joachim Polack, have been described as "Florida's best kept secret," owing to their sweetly unforgettable style of psychedelic indie. With dreamy vocals, catchy melodies, and experimental instrumentation, the duo have been said to channel the influence of classic French composers like Serge Gainsbourg and Michel Legrand into their work, nailing a filmic atmosphere that is otherwise lent to a Mario Kart-esque bedroom pop.
Review: There's a clear statement of intent when a band puts out a retrospective compilation subtitled Volume 1. Pearl Jam are unarguably an outfit that can back up that hinted threat with genuine goods, too, ranking among the most influential US alternative rock bands of the 1990s. As such we're already chomping at the bit with anticipation for the sequel.
Sticking with this one, though, there's plenty here to introduce newcomers to exactly why the act that gave us landmark LPs like Ten warrant revisiting and celebrating. Tracks like 'Alive' and 'Even Flow', and 'Once' still sound as powerful and inimitable (no that many haven't tried) as they did when said album landed, with a slew of other material here proving just how many new ideas came from the team in their formative years.
Elderly Woman Behind The Counter In A Small Town (3:16)
Immortality (5:09)
Better Man (4:25)
Nothingman (4:34)
Who You Are (3:51)
Off He Goes (5:45)
Given To Fly (4:01)
Wishlist (3:23)
Last Kiss (3:16)
Nothing As It Seems (5:20)
Light Years (5:05)
I Am Mine (3:35)
Man Of The Hour (3:44)
Yellow Ledbetter (5:03)
Review: Surely everyone had at least some period in their younger years where they were fully signed up fans of Eddie Vedder and his Pearl Jam? Well, if that's you, relive your youth with this bumper collection of their great hist from arguably their best period - the early nineties on to the turn of the millennium. Rearviewmirror comes in two volumes which really speaks to the number of big tunes the American band put out in their time. This first one has the likes of 'I Am Mine,' 'Daughter' and personal favourite 'Elderly Woman Behind The Counter In A Small Town.'
Review: Give Way has all the hallmarks of a collector's item. Originally intended to be given away for free with copies of Pear Jam's 1998 documentary, Single Video Theory, neither label nor band cleared the promotion and so it all went down the drain, with 50,000 copies destroyed a day before the flick hit in one of those How Much Money Did They Have? kind of moments.
25 years on and fans can finally see what they've been missing out on. The record itself is a snapshot of a date at Melbourne Park in Australia, a stop off on the Yield Tour, cutting down the original 25 track show to a shorter playlist, ensuring it can fit on the release. In terms of standards, this gives a strong nod to a peak period in the legacy of this US grunge rock behemoth, and should appease even the most demanding fans.
Review: For the first time in over 26 years, much-loved metallers Pearl Jam finally topped mainstream rock airplay charts in the US with the first single off their latest album. That came some 1000 days ahead of the album itself which has now finally arrived and has soon won over fans. That single, 'Dark Matter', became Pearl Jam's first No. 1 on the chart since 'Given To Fly' led for six weeks all the way back in January-February 1998. The rest of the album is full of just as much gold as that, with plenty more of their signature riffs and potent grooves all topped with Eddie Vedder's legendary lung-busting vocals.
Review: There's many eras of Pearl Jam where you may have been fortunate enough to see them perform live. But if you were given the opportunity to time travel, we suspect that 1992 will have been top of the list. The grunge icons had just released their most successful and arguably best album to-date - Ten. With it came 'Jeremy', 'Even Flow' and 'Black'. Three of the greatest songs of the 90s. All three are played here on this live album, as is their epic cover of Neil Young's 'Rockin' In the Free World', which has gone on to remain a staple in their live sets for years to come. Eddie Vedder and co. were at their absolute peak commercially and creatively and hearing them on this audiophile format live leaves us understanding why they were such a phenomenon.
Review: You'll probably struggle to find an album that opens with two more contrasting tracks than the fifth long form effort from Mike Hadreas. Re-teaming with GRAMMY-nominated production talent Blake Mills, with the pair inviting a host of guest collaborators to help on this record (Jim Keltner, Pino Palladino to name but two), the record begins with the peaceful, reflective and hymn-like 'Whole Life', a classic slice of rock croonerdom, before the scuzzy guitars of 'Describe' drop in like juggernauts. Elsewhere, you have the proto-pop of 'On The Floor', a track heyday Cyndi Lauper would have been happy to call her own, and the haunting slow dance of 'One More Try', offering yet more shades of grey which, combined, create a complete picture of a man, or indeed men, in the 21st Century. Rebellious, tender, caring, carefree and deeply complex. Definitely one that will keep you exploring long after first pressing play.
Review: The work of Mike Hadreas has divided opinion up until this point, with observers being equally awestruck by his ornate and grandiose pop and slightly overwhelmed by it - however, 'No Shape' would appear to be the point at which all must acknowledge that this maverick is now operating at the absolute peak of his powers, and sculpting works of cinematic splendour that balance out tenderness of delivery and gloriously widescreen sweep. Lush orchestration marries with Hadreas' emotionally engaging croon and endlessly inventive arrangements to arrive at something both touching and transcendent.
Review: Too Bright, released in 2014, marks a daring evolution for Perfume Genius, the moniker of Seattle's Mike Hadreas. Departing from the sparse, piano-driven melodies of his earlier work, this album dives into raw, unfiltered emotion and experimentation. Hadreas channels a simmering rage that has been growing since childhood, resulting in an album that is both audacious and quixotic. Collaborating with Adrian Utley of Portishead and featuring John Parish, Too Bright navigates a transformative path reminiscent of Kate Bush's The Dreaming or Scott Walker's Tilt. It balances pure songwriting with bold, avant-garde explorations. The album's soundscape shifts from delicate and introspective to powerful and defiant, reflecting Hadreas' internal struggle and emerging confidence. Tracks like 'Queen' are full of newfound boldness, combining anthemic choruses with provocative lyrics, while others maintain a haunting beauty. Too Bright is a standout in Hadreas' discography and is a pivotal moment of his artistic growth. Ten years on, it still pushes boundaries and confronts personal demons, solidifying it's place as a visionary album in contemporary music.
Review: Brendan Perry of Dead Can Dance hears his 1999 album Eye of the Hunter expanded for a first-time repress, to now include a bonus live album Live at the ICA, recorded during 4AD's infamous 13 Year Itch residency at the storied London venue in 1993. Channelling his infamous gestalt-gargantuan folk sound that he so trailblazed with his partner Lisa Gerrard with DCD, the newly unearthed live material is just as arresting as the original solo album; whether its recording at the Quivvy Church in Ireland or the ICA in London, the overall effect - that of Perry's dark folk wonderment, mythological themes, and reverb-laden 4AD sound - is the same.
Review: Almost two full decades into their curious career, slacker-psych experimentalists The Pheromoans have never been ones to shy away from the esoteric or mundane. Led by the droll, deadpan delivery and unique world view of primary songwriter Russell Walker, LP number 13 sees the collective lean ever further into topical malaise whilst honing their fuzzed out, post-college-rock jangles into their most digestible and direct form yet. With the title Wyrd Psearch, Walker takes direct aim "at the ubiquity of people claiming things are eerie or weird/wyrd in the present cultural milieu", while the word-search artwork is intended to highlight our cultures' obsessive search for meaning in an increasingly illogical world. Twinkling no wave riffs, glistening synth lines and muted requests to loved ones requesting their presence on a trip to town to reup on prescription meds.
Review: Phosphorescent is recognised as something of a key player in the current indie scene. Based right now in Nashville, Tennessee, he has been away for the best part of half a decade but now makes a sweet return much to the delight of fans and critics alike. Back in 2022 his covers album Full Moon Project showcased all of his most prominent inspirations and influences with versions of music by the likes of Bee Gees, Bob Dylan and Nina Simone. The self-taught producer and a constantly inquisitive creative now goes deep on new record Revelator which is "a meditation on all that he's learned about life and all that is still unknown".
Review: This double pack brings together the original, pre-reformation Pixies' last two albums from the early 90s with Bossanova from 1990 marking a distinct shift in the band's sound, Black Francis pursuing a more 'space age heavy metal' direction, a vision he had long desired. The album is imbued with haunting melodies like in 'Ana' and 'Velouria' and contains some of Francis' best lyrical work, dealing in unsettling concepts and a dreamlike atmosphere that's unlike anything they'd done before. Following closely in 1991, Trompe le Monde continues this exploration, both musically and thematically, with its most famous moment 'Planet of Sound' seemingly joining the dots between punk and metal. The title track, which translates to 'Fool the World', sets the tone for an album that adds more avant-garde touches to their alternative rock. While maintaining the Pixies' signature style on 'Alec Eiffel' and the impossibly funky but still lead heavy 'U Mass' - the only track containing the c-word that even sneaked onto a Desert Island Discs playlist thanks to one Jimmy Carr - it still pushes the boundaries even further with more experimental elements. A comprehensive experience of this fascinating and often underrated period in the Pixies' career.
Review: It's hard to imagine the rock music of the last quarter-century without Pixies, and in particular without the Doolittle album. Lest we forget, Kurt Cobain was at one point concerned that Smells Like Teen Spirit might be too much of a Pixies ripoff, which is testimony to the innovative qualities of the band's meld of surrealism and pop hooks; quiet and loud, sweet and sour. This triple-album set offers an opportunity to bear witness to the gestation of this near-perfect opus, collecting demos and radio sessions to map out the means by which four weirdos united the underground and the mainstream, seemingly by some serendipitous car crash of happy accident and raw talent.
Review: When the dust settled, it would be fair to say that 'Indie Cindy', Pixies 2014 recording comeback, was not a roaring success, from its unfortunate title down. Paradoxically, what appears to have made the difference for the vastly superior 'Head Carrier' is the arrival of talented journeywoman bassist Paz Lenchantin, who makes her presence felt throughout and perhaps shakes up the chemistry of the band just enough to make them comfortable taking chances. The spiky pop hooks, humour and off-kilter raunch are here in spades, yet more importantly 'Head Carrier' sounds like the work of a band comfortable in its own skin once again.
Review: When the dust settled, it would be fair to say that 'Indie Cindy', Pixies 2014 recording comeback, was not a roaring success, from its unfortunate title down. Paradoxically, what appears to have made the difference for the vastly superior 'Head Carrier' is the arrival of talented journeywoman bassist Paz Lenchantin, who makes her presence felt throughout and perhaps shakes up the chemistry of the band just enough to make them comfortable taking chances. The spiky pop hooks, humour and off-kilter raunch are here in spades, yet more importantly 'Head Carrier' sounds like the work of a band comfortable in its own skin once again.
Review: Pixies return with The Night The Zombies Came, their tenth album, marking 35 years since Doolittle cemented their place in alternative rock history. Building on the momentum of their 2022 album Doggerel, the band deliver 13 new tracks that prove to be among the most cinematic soundscapes of their career. The album weaves together eclectic themes like Druidism, apocalyptic shopping malls and medieval-themed restaurants. Black Francis, the band's primary songwriter, describes the album as a series of fragmented narratives that come together to form a kind of movie. The Pixies' trademark blend of surreal lyrics and dynamic "loud-quiet-loud" song structures remain intact, yet the new material explores fresh, imaginative territories. Having influenced iconic bands like Nirvana, Radiohead and Weezer, Pixies have long been a cornerstone of alternative rock and now, with Emma Richardson (formerly of Band of Skulls) joining as bassist after Paz Lenchantin's departure, they continue to evolve while maintaining their distinctive edge.
Levitate Me (John Peel Session 3rd May 1988) (2:17)
Hey (3:18)
In Heaven (Lady In The Radiator Song) (1:40)
Wild Honey Pie (1:51)
Caribou (3:19)
Dead (John Peel Session 9th October 1988) (1:32)
Tame (1:58)
There Goes My Gun (1:27)
Manta Ray (2:16)
Down To The Well (John Peel Session 16th April 1989) (2:32)
Into The White (4:11)
Wave Of Mutilation (2:23)
Allison (John Peel Session 11th June 1990) (1:21)
Velouria (3:24)
Hang On To Your Ego (3:19)
Is She Weird (2:54)
Monkey Gone To Heaven (Mark Goodier Session 18th August 1990) (2:59)
Ana (2:14)
Allison (1:14)
Wave Of Mutilation (2:10)
Palace Of The Brine (John Peel Session 23rd June 1991) (1:39)
Letter To Memphis (2:34)
Motorway To Roswell (3:38)
Subbacultcha (2:11)
Review: This is the first official vinyl release of the previously CD only collection of Pixies live performances on the BBC. Fans of the band know what a mythical live band the Pixies are. And what better way to experience that emotion then these recordings collected from their earlier years of the late 80s and early 90s? Included are many of the early hits like 'Monkey Gone To Heaven', 'Wave of Mutilation' and 'Allison', mainly from BBC studio sessions and the occasional live recording. 4AD have done an amazing job with this release spreading it across three pieces of vinyl too.
Review: Whether you were a 1990s teen riddled with angst looking for release, or just coming to Placebo for the first time now (where have you been?), Never Let Me Go is all the proof you need that the sound of half-broken and dysfunctional youth can translate into adult sounds. On this latest, Brian Molko and co are neither trapped in perennial adolescence desperately looking to be put out of their misery, nor hellbent on attempting to reinvent themselves.
In short, we might have already known to take this troupe very seriously, but it never does any harm to reemphasise the point, with tracks like 'Try Better Next Time' encapsulating the reasons why their early work resonated so much, and outings such as 'Chemtrails' and 'Went Missing' making it clear that, within their scope, there are still plenty of new ideas happening.
Review: You don't have to spend long looking at the cover art for Plantoid's Terrapath to have a stab at guessing what the record is all about. The oil painting-style image is at once retro and futuristic, invoking thoughts of H.G. Wells' War of the Worlds and John Wyndham's Day of the Triffids, among other classic science fiction works. We couldn't ask for a more apt visualisation of the record itself. Terms like 'prog rock jazz' may not be particularly flattering today, but here Plantoid prove there's plenty of life left in the (sub) genre yet, especially when you throw funk, soul, and subtle hints of downbeat into the mix. Terrapath is at times fragile and gentile, in other moments rowdy and brash, and it never, ever feels like it could do with seven or eight minutes shaving off a track. A wonderfully conceived collection you'll be coming back to again, and again.
Review: First released in 1992 on CD only, this comprehensive compilation of The Pogues' mid-career set of highlights is not your usual career retrospective. Rather than emphasising their most obvious tunes, this record specifically concerned the period 1984-1990, in which time the Anglo-Irish folk, rock and pop band delivered their enduring cover of Rolling Stones' 'Honky Tonk Woman', as well as such prime-cut originals as 'Yeah Yeah Yeah Yeah Yeah', 'The Sunny Side Of The Street', 'Dark Streets Of London' and more. Now released on limited edition green vinyl for the first time ever, you vinyl preferrers too may sing and swing with this most raucous of cross-Channel belligerent bands, notably zooming back largely to the period before their drunken Christmas smash 'Fairytale Of New York' came to be.
Review: Pom Poko have matured significantly with their new album Champion, which is a rather profound and uplifting post-punk effort. Vocalist Ragnhild Fangel Jamtveit, bassist Jonas Krovel, guitarist Martin Miguel Almagro Tonne, and drummer Ola Djupvik are more connected than ever here both personally and musically. Unlike many bands that use the term "family" all too loosely, Pom Poko has truly become a tightly-knit unit through extensive touring and what they say is a rigorously democratic songwriting process. Their focus remains on staying true to their artistic values here while also pushing the boundaries of their dynamic and often chaotic sound.
Review: Returning just one year on from 2023's Zig (with what many initially presumed to be titled Zag), Moriah Pereira, better known as Poppy, delivers her sixth full-length LP Negative Spaces. Fresh off of appearances on both the new Bad Omens and Knocked Loose albums, with the latter marking her most unhinged vocal performance to date, this latest work seeks to strike a balance between her established digi-metal-pop formula and more outsider experimentations in both regards to heavier delivery and more complex electronica. Produced by former Bring Me The Horizon producer/keyboardist/programming wizard Jordan Fish, the not-so-strange bedfellows compliment each other majorly with Fish's ear for the sonic coalescence of metallic and industrial soundscapes within glistening pop structures providing an ample playground for Poppy to stretch her vocal cadences and multi-faceted character dynamics to enthralling new heights. This limited indie exclusive pressing arrives on a trifold pink & white split-coloured vinyl.
Review: Following only one year after 2023's critically acclaimed Zig, avant-pop-metal genre-denier Poppy (real name Moriah Pereira) returns with a direct successor which many fans initially and understandably presumed to be titled Zag. Having featured on albums by both the accessible pop-leaning Virgina based metalcore outfit Bad Omens and the far more vicious Kentucky metallic hardcore greats in the making Knocked Loose (which featured her most caustic vocals to date) in the past year, Negative Spaces attempts to eschew the more stripped-down restraint of 2021's Justin Meldal-Johnsen-produced Flux with a total sensory overload of digi-pop chaos. Working with producer Jordan Fish who recently departed from his intrinsic role within Bring Me The Horizon, the duo have seemingly intertwined approaches, dynamics and abilities to complement each other's tastes and carve out soundscapes that equally and simultaneously prioritise pop song structures, industrial harshness and hyperpop maximalism, yet all united under the mercurial presence of Poppy's multi-faceted characteristic cadences.
Review: Porno For Pyros emerged from the ashes of Lollapalooza founders Jane's Addiction, following the latter band's breakup circa 1990. Flaunting two of Jane's' founding members, Porno went on to forge a bombastic alternative rock sound that defined the 90s. This is the band's first ever greatest hits collection, coinciding with a nascent world tour drive and reuniting in 2024. Pressed on multicoloured vinyl and with brand new art, the record also includes a brand new remix of 'Pets' by Daniel Avery, and three brand new recordings, 'Fingernail,' 'Little Me' and 'Agua'.
Review: Porridge Radio's Clouds In The Sky They Will Always Be There For Me marks a significant evolution in the band's journey, reflecting the emotional depth and creative intensity that have defined their work. Formed in 2014, the band, led by Dana Margolin, has always been known for their raw, emotionally charged performances, and this album is no exception. Recorded in Frome as winter transitioned to spring in 2024, Clouds captures the band at their most vulnerable and cohesive. Dana's introspective lyrics, shaped by personal struggles with burnout and heartbreak, are delivered with a visceral honesty. Tracks like 'Anybody' and 'God Of Everything Else' explore themes of love, loss and identity with a cathartic intensity that resonates deeply. Produced by Dom Monks, known for his work with Big Thief, the album balances expansive soundscapes with intimate, live recordings that highlight the band's chemistry. The sessions fostered a close-knit, collaborative environment, allowing the band to fully engulf themselves in the creative process. The result is an album that feels both profoundly personal and universally relatable, a true creative breakthrough for Porridge Radio.
Review: Jessica Pratt's third solo album is a blessing from the start, with opener, "Opening Night", setting the album's tone as a sojourn through a fresh but solemn memory, like strolling through a mist swept pasture. With Pratt's unique vocal ranging tied up in a mix of space, crackle and forgotten reverie, her vocals at times sounding as if they're lost somewhere in a wireless ether. With softly played chords and delicate strumming sitting in tune with dreamy interludes and folky motifs, City Slang have arguably dropped their best record for 2019 first.
B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition
Looking For Atlantis (3:56)
Wild Horses (3:38)
Machine Gun Ibiza (3:40)
We Let The Stars Go (3:28)
Carnival 2000 (3:16)
Jordan: The Comeback (4:01)
Jesse James Symphony (2:18)
Jesse James Bolero (3:52)
Moon Dog (4:00)
All The World Loves Lovers (3:48)
All Boys Believe Anything (1:27)
The Ice Maiden (3:26)
Paris Smith (2:41)
The Wedding March (2:46)
One Of The Broken (3:46)
Michael (2:57)
Mercy (1:17)
Scarlet Nights (4:06)
Doo Wop In Harlem (3:29)
Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***
Prefab Sprout's Jordan: The Comeback stands as their most ambitious work, now reissued on stunning translucent blue and red vinyl. This expansive double LP, produced by Thomas Dolby, is divided into four thematic movements, blending pop, samba, and Steely Dan-esque sophistication. Tracks like 'Wild Horses', 'We Let the Stars Go', and 'Looking for Atlantis' showcase Paddy McAloon's mastery of both melody and lyrical depth. The album explores wide-ranging themesifrom the myth of Elvis Presley's resurrection to the complexities of love, heartbreak, and spiritual redemption. The Elvis suite is a highlight, filled with symbolic references to his life and legacy. Ending on a redemptive note with 'Doo Wop in Harlem', Jordan takes listeners on a journey through McAloon's introspective world. This vibrant reissue only enhances its legendary status.
Review: Prefab Sprout's Jordan: The Comeback stands as their most ambitious work, now reissued on stunning translucent blue and red vinyl. This expansive double LP, produced by Thomas Dolby, is divided into four thematic movements, blending pop, samba, and Steely Dan-esque sophistication. Tracks like 'Wild Horses', 'We Let the Stars Go', and 'Looking for Atlantis' showcase Paddy McAloon's mastery of both melody and lyrical depth. The album explores wide-ranging themesifrom the myth of Elvis Presley's resurrection to the complexities of love, heartbreak, and spiritual redemption. The Elvis suite is a highlight, filled with symbolic references to his life and legacy. Ending on a redemptive note with 'Doo Wop in Harlem', Jordan takes listeners on a journey through McAloon's introspective world. This vibrant reissue only enhances its legendary status.
Everybody's Ill (At The Moment) (part 1 & 2) (5:14)
Moving On (2:27)
Nobody Likes Me (3:33)
Make Luv (I Like To Party) (feat Erin Lawrie) (3:37)
Alpha Business (3:42)
These Hands Aka Danny Knife (feat Peter Doherty) (4:15)
Sort It Out Down There (3:11)
Wimpy (album version) (3:51)
Two Kinds Of Music (2:36)
Big Hitters (reprise) (4:15)
Review: Pregoblin II marks another thrilling chapter in Pregoblin's sonic odyssey and again serves to highlight their genre-defying prowess. With this release, the duo continues to push on and blend elements of indie rock, psychedelia, and electronica into something wholly new that ranges from infectious hooks to experimental textures. Each track is a mini adventure that allows you to lose yourself in its hypnotic worlds. Pregoblin's distinctive blend of introspective lyricism and eclectic instrumentation shines through as always to cement their status as one of the most innovative acts in contemporary music.
Review: Pretenders' iconic album Learning To Crawl gets a crystal clear vinyl reissue here to commemorate its 40th anniversary. Retaining the original 1984 artwork and tracklist, this reissue boasts 2018 remastered audio by producer Chris Thomas which arrives on wax for the first time. Following a band hiatus marred by the tragic losses of guitarist James Honeyman-Scott and bassist Pete Farndon, the album features various musicians before Robbie McIntosh and Malcolm Foster joined to solidify the lineup. Achieving Gold and Platinum status in the UK and US, the album peaked at #11 in the UK and #5 on the Billboard 200 and includes beloved tracks like '2000 Miles' and 'Back on the Chain Gang'.
Review: Matador Records top up their ongoing catalogue series Revisionist History - a series of reissues of the label's most esteemed albums, which "people tend to presume is our cheeky way of re-writing Matador's storied past to make it even more (ahem) storied" - with a new version of The New Romance by Pretty Girls Make Graves. Formed in Seattle in 2001, PGMG came together in the fallout of the breakup of a dozen other Seattle scene bands, and amounted to an intelligent and distinctively electric take on the post-punk they knew and loved. The second LP to their debut Good Health, The New Romance was anthemic in comparison to their debut's relative rawness, working in crossrhythmic guitar and synth arpeggios touching on minimalism, which formed a neat counterpart to the ostensibly screamy punk statement heard throughout.
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