Island Vinilo y CD

Review: For those of a certain age, the sound of The Cranberries is the sound of their youth. They were big when radio was limited to whatever you could get by twisting your FM dial, and they often featured on whatever station you ended up at. Their well writing alternative rock songs have sweeping arrangements, lush orchestration and of course the slightly winy main vocals that were so easy to sing back with grungy riffs perfect for aping in mid air. This bumper collection of their best bits will take you right back to the 90s with 'Dreams', 'Linger' and more still sounding great.

Review: Polly Jean Harvey is currently midway through an epic reissue series, delivering freshly re-mastered versions of numerous albums across a multitude of formats. The latest set to get a new vinyl pressing is 1993's "Rid of Me", which saw the celebrated singer-songwriter make her major label bow after years spent operating on small indie imprints. Widely considered one of Harvey's finest moments, the set was far more raw and aggressive than her previous work - despite using the same stripped-back line-up of musicians as its predecessor - with producer Steve Albini, famed for his work with the Pixies, conjuring a particularly "psychotic" sound (as its main protagonist has since called the album in interviews).

Review: Keshi's new album Requiem is a powerful statement to his growth as an artist. Created across Houston, LA, New York, and Tokyo, this 13-track album showcases Keshi's exceptional talents as a songwriter, producer, and performer, with an ambition clearly aimed at arena performances. Born Casey Luong, Keshi has built a reputation for his unique blend of lo-fi hip-hop and r&b, characterised by soothing vocals and deeply introspective lyrics. Requiem, his sophomore album, follows 2022's Gabriel, which solidified him as a top debut artist. The new album delves into themes of love and loss, particularly influenced by the death of a close friend. This profound experience shaped Keshi's perspective on life and time, culminating in the album's title track, 'Requiem,' which reflects a coming-of-age realization. The album also features the single 'Say,' infused with city pop influences, adding another layer to Keshi's evolving sound. Requiem promises to be a deeply emotional and resonant project, continuing to connect with listeners worldwide.

Review: British indie rock apostolic supper-eaters The Last Dinner Party present a new 7" to celebrate the release of their second ever single, 'Sinner'. The song makes thorough use of staccato, operatic vocal theatrics (courtesy of lead vocalists Abigail Morris and Lizzie Mayland) while thereafter breaking into an otherwise gritty post-punk joie-de-vivre. This limited-edition white vinyl release hears the studio version of 'Sinner' on the A come backed by an energetic live take of the same song on the B; the latter was performed in Melkweg, Amsterdam only recently, and marks a gothically stark contrast to the record version.

Review: Along with Manic Street Preachers and Super Furry Animals, but far bigger selling, 'Dakota' hitmakers Stereophonics epitomise the past 30-plus years of Welsh rock. In many ways the boys from the Valleys have kept the fundamentals that people enjoy about their sound the same over the years with this new album. Kelly Jones' gravelly voice, which sits at the forefront, is as strong as it's ever been. But in terms of changes, Jones has never been shy about his love of Americana music and appears to be leaning more and more into that passion as the years go by. Single 'There's Always Gonna Be Something' has a bit of gospel flair and has an unforgettable melody that would earn appreciation from the most discerning songwriters in Nashville. Stereophonics appear to never tire of chasing that perfect song and it appears still have plenty left in the tank.

Review: Where's My Utopia? is the follow up to the Leeds band's critically-acclaimed debut record The Overload, which arrived in January 2022. A co-production between Yard Act and Gorillaz member Remi Kabaka Jr., this latest album comes across as a meditation on the contemporary post-Fordist condition of the creative worker. Speaking about 'Dream Job', the band's James Smith said: "'Dream Job' feels like an apt introduction to the themes explored on Where's My Utopia? - though not all encompassing. In part I was scrutinising and mocking myself for being a moaning ungrateful little brat, whilst also trying to address how the music industry is this rather uncontrollable beast that hurtles forward unthinkingly, and every single person involved in it plays their part." Echoing the conflicted inner turmoil of reluctant bandleaders such as Mark E Smith of the Fall - "it's a constant battle" - and the sonic affect of Talking Heads, the album addresses a question central to our times: what do you do when everything you've ever wanted suddenly lands in your lap, but the questions still keep on coming? How do you handle fame and success, when your fans secretly resent the structures that elevated you to that status? Despite these contradictions, all this doesn't stop James Smith, Ryan Needham and Sam Shipstone from delivering a rip-roaring album as expected. If they can find the motivation to make such effective music despite their doubts (meditating on present conditions of poverty while keeping up a smile), then so, perhaps, can you.