Island Vinilo y CD

Review: Julian Cope's My Nation Underground is an album ready for rediscovery and it now gets reissued as a faithful replica of the original 1988 Mercury Records UK release and pressed on high-quality 180g vinyl. Following the success of Saint Julian, Cope surprised fans by changing his band lineup and blending funk with Krautrock with veteran producer Ron Fair at the helm. The album includes three singles, mostly notably 'Charlotte Anne' which was a minor US hit. The opener, '5 O'Clock World', is a cover of a 1965 Vogues song and is upbeat and poppy, while the seven-minute title track uniquely combines go-go beats with post-punk elements.

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: Easy Life's new record is 45 minutes of bliss. It's their best since the Leicester five-piece's Life's A Beach and all 15 cuts will enrich your life with brilliant tunes such as 'Beeswax' and 'Dear Miss Holloway ft. Kevin Abstract. The soulful sounds all tackle the various issues that we all struggled with during the covid-19 pandemic. Lead vocalist Murray Matravers sings "I've been moving lateral, horizontal, vertical" just one minute into the first track on the album and it sums up the pace of this one perfectly. The band's cult fan base will lap this up while new fans are also sure to come flocking.

Review: A brand-new five-track EP from the current darlings of the indie scene. The Leeds four-piece have had an impressive few months, having dropped their debut album 'This Could Be Texas' in April and performing across major festivals in Europe, as well as being nominated for the 2024 Mercury Prize. The new project, recorded during their sessions with BBC Radio 1, 2 and 6 Music, includes live versions of tracks from the album, plus covers of LCD Soundsystem's 'New York, I Love You But You're Bringing Me Down' and Billie Eilish's 'Birds Of A Feather'.

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: .The critical jury has certainly been out on Ben Howard's latest slice of soft electronic pop-dance-indie business, some slapping an Album of the Week label on it, others referring to it as "a little dull". Beauty is, of course, in the eye of the beholder, or in this case the ear, and from where we're sitting Is It? certainly is a thing of exceptional beauty. Only boring people get bored, blah blah blah.
Indeed, if there was a major criticism here it would be the most 21st Century, mind-ruined-by-tidal-waves-of-wireless-information criticism imaginable. Howard clearly expects us to listen and listen good, with such delicate tracks easily at risk of slipping into the background. Turn it up, then, and feel the full, subtle power of what's here - 1980s hued sophisticated lushness, lo-fi downtempo curveballs, postmodern art pop. Ace.

Review: Two British pop legends unite for Who Believes in Angels?, a new record spot-checking our faith in divinity. Having connected through a mutual admiration and shared love of music, Elton initially became a fan of Carlile through her effusions of folk, rock and country, which matched the former's megastar's sometimes pained, moving songwriting. Their friendship deepened over the years, with Carlile performing at Elton's annual AIDS Foundation events and joining him on stage for special collaborations. Now blending Elton-led and Brandi-led tracks, the album contains lyrics from longtime collaborator Bernie Taupin alongside Carlile's own contributions, with production by Andrew Watt. This marks Elton's 33rd studio album and Brandi's eighth.

Review: Few stadiums involve the same level of America-ness as Fenway Park. Home to the Boston Red Sox, whether or not you believe baseball to be pointless and mundane, the fast food equivalent of cricket which is, somehow, also a slow cooked nothing, it's impossible not to appreciate just how much atmosphere there is in heritage sports arenas, and how much these places mean to the town that built them. For anyone to perform a concert at Fenway, then, is a privilege that betrays status. So does the deafening noise of tens of thousands singing along to the anthems on this Noah Kahan tour recording. Born in Vermont, but with strong family ties to the Boston area, the roaring and soaring folk-pop hitmaker - whose roots are as much in rock & roll as country and bluegrass - is quite simply commanding, even heard via the replay medium of vinyl or CD. Something to remember next time you consider tickets to see him in the flesh.

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: A little slice of rock history for RSD 2025, taken from the encore from US indie faves The Killers' encore at New York's Madison Square Garden on October 1, 2022, when a certain Mr Springsteen joined them to Boss proceedings. We get versions of two of Springsteen's calling cards - 'Badlands' from his Darkness on the Edge of Town album, often cited as a proto-punk classic - and the ubiquitous 'Born To Run', with The Killers' raucous 'Dustland', seemingly heading up and up in intensity without ever quite hitting the ceiling, as the meat in the musical sandwich. The clear parallels between both acts are laid bare, as is the spontaneity and excitement of a true one off moment.

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: This special edition's second vinyl offers acoustic renditions and live covers, including a beautiful version of 'Wicked Game' and an emotional take on 'Army Dreamers'. The Last Dinner Party's debut album, Prelude to Ecstasy, produced by James Ford, is a masterful blend of theatrical flair, emotional depth, and diverse musical styles. From the cinematic opening instrumental to the haunting 'Burn Alive,' the album captures an evocative range of moods and experiences, highlighting the band's exceptional musicianship and Abigail Morris' commanding vocals. Emily Roberts' guitar work is especially striking, providing both tonal nuance and powerful solos. The album's strength lies in its versatility, moving from the anthemic brilliance of debut single 'Nothing Matters' to the tender beauty of 'On Your Side'. The inclusion of 'Gjuha', sung in Albanian by keyboardist Aurora Nishevci, adds a personal, multicultural touch, showing the band's ability to explore different sounds and themes. Ford's production accentuates the sweeping orchestral elements and electronic textures without overpowering the band's raw energy.

Review: There's potentially been no bigger indie-related "controversy" this year than the rhetoric surrounding London's latest baroque chamber-pop wonders The Last Dinner Party, who have been hit with barrages of embittered tweets and accusations of the dreaded "industry plant" label since unveiling their debut single 'Nothing Matters' during the early stages of 2023. The main point of contention came from their much-discussed opening slot at The Rolling Stone's Hyde Park show without a solitary piece of studio material online, yet the power of their grassroots fanbase, built up organically through years of indie gig circuitry as well as the exceptional follow up single 'Sinner', has silenced the vast majority of begrudging grumblers across the digital sphere. Now with further supports for the likes of Florence & The Machine and even Lana Del Rey under their bedazzled, Victorian era belts, as well as an appearance on Later...with Jools Holland, the collective seem poised to grasp 2024 by the proverbial horns in a manner not too dissimilar to how Wet Leg triumphed over 2022. Take note when we say that Prelude To Ecstasy will be one of the biggest and most discussed debuts of the next year, as it flaunts its avant-pop stylings echoing the likes of Kate Bush but re-packaged for the Warpaint hipsters with a sprinkling of Siouxsie & The Banshees eccentricity.

Review: The long-awaited follow up to 2018's Delta, London indie-folk megastars Mumford & Sons return after a seven-year gap (their longest between releases yet) to chart a course back to their original path. Titled Rushmere after a pond located at Wimbledon Common in London, where the band was first formed and music was conceived, their fifth LP marks their first as a trio, following the departure of Winston Marshall in 2021 (who for some bizarre reason opted to allow his politics to prioritise his success and now makes appearances on Fox News). Where the members had gone to lengths previously to shy away from their folk-pop stylings in search of a "new sound", here it's evident that Marcus Mumford and his cohorts have finally become comfortable with their position within the modern music landscape, dusting off the obligatory banjo for the triumphantly anthemic title-track, while the melancholic 'Where It Belongs' utilises weaving, minimalist acoustic melodies and deeply affecting vocal harmonies to conjure a sense of quiet acceptance. In short, this is the most Mumford & Sons the troupe have sounded since their acclaimed 2009 debut Sigh No More.

Review: Mumford & Sons drop a surprise single release alongside Pharrell Williams, 'Good People', delivering on a long-awaited promise to hop in the studio together after years of knowing each other. Finally falling back on their immediate instincts, 'Good People' hears the band and the solo wunderkind sing of tiredness and revelation, making adept use of a dry, driving, sportsmanlike instrumental palette (think hand claps, stomps, gospel harmonies). Though cryptic in theme, the mood on this one-off is one of triumph and impending miracle works to come.

Review: Norwegian pop heavyweight Sigrid has gone from strength to strength since breaking through in 2017 with 'Don't Kill My Vibe'. Her talents have reached to songwriting credits for the likes of Paloma Faith and Rudimental, but it's in her own work where you can hear the precocious singer in full flight. In the wake of 2022 sophomore album How To Let Go, she points to the future with this dazzling, succinct EP. As the title suggests, this release is a reflection on the impact of her meteoric rise and what it means to be on the receiving end of worldwide attention, but naturally Sigrid takes the rollercoaster ride in her stride and sounds more empowered than ever.

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: U2 are back with a brand new single, the single-sided record edition of 'Atomic City', produced by Jacknife Lee and Steve Lillywhite. Pre-empting the band's upcoming residency at Sphere in Las Vegas - a venue fit for the band's stature - the track is a hip-shaking, knee-slapping call into the unknown, hearing lead singer and public favourite Bono singing of lamented lost futures and calls for the city of Las Vegas to reckon with itself, referencing its status as a hotbed of 1950s nuclear tourism. This limited edition vinyl copy comes on alabaster transparent 7" vinyl, and the B-side features an exclusive etching.

Review: Guy Richie's Lock Stock & Two Smoking Barrels may well be a film very much from a certain era but a fantastic one it remains. It is now a quarter of a century old and part of the reason it struck such a chord upon release was the super cool and occasionally bad-ass soundtrack. It now gets a special anniversary reissue on four sides of translucent red wax with all the original standouts present and correct - from the smooth jungle of E Z Rollers to the macing James Brown cut 'The Boss' via Junior Murvin's smokers' anthem 'Police & Thieves', reliving this one is always well worth it.

Review: Setting the stage for their as-of-yet untitled sophomore full-length, Leeds based indie darlings Yard Act have unveiled their eight-minute opus-like standalone single The Trenchcoat Museum. Channeling a new wave promiscuity and frenetic synth-laden playfulness into their pre-established sound, while tip-toeing a fine line between scathing self-analysis and reliably humourous absurdity, the piece serves as an indicator of their current sonic trajectory, while showcasing an introspective look at their sudden meteoric rise over the past few years. Complete with an accompanying Black Mirror-esque music video directed by James Slater, and a B-side flip remix by the incomparable Arthur Baker, anticipation is rife for where the band are leading their myriad of avid followers. Serving as both an extension of the narrative set in place by last year's exceptional debut LP The Overload, and a bridging point to their next aesthetic era, this new single offers newcomers a welcome chance to play catch up before the mayhem commences all over again.

Review: Where's My Utopia? is the highly anticipated follow up to Leeds post-punk darlings Yard Act's Mercury Prize-nominated debut LP The Overload, and continues their eccentric, whimsical and sobering assessment of life in modern day Britain with a cheeky smile plastered over decades of embittered rage. Following on from last year's bizarre Black Mirror-inspired eight-minute single 'The Trench Coat Museum', this sophomore effort succeeds at every turn a second album should. Linking up with Gorillaz' Remi Kabaka Jr to handle production, the move has led to a curious wading into influences that might have seemed obvious to outside ears, with a newfound embracing of new wave synth pop whilst tapping into the psychedelic sonic world and political ethos of Fela Kuti. Lyrically, taking the UK to further task for its endless shopping list of fuck ups, whilst also touching on their seemingly overnight ascension, and the irony that comes with being signed to a subsidiary of another monolithic, faceless corporation endorsing the myriad of issues completely at odds with the morals embedded into the Yard Act DNA, Where's My Utopia? sees the band beating everyone to the punch, both musically and topically.

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.

Review: Following on from 2022's critically acclaimed, Mercury Prize nominated debut LP The Overload, crossing over the bridge provided by last year's absurdist, Black Mirror-indebted eight-minute stand alone single 'The Trench Coat Museum', everyone's new favourite Leeds based post-punks Yard Act are set to capitalise on their momentous winning streak with the highly anticipated sophomore effort Where's My Utopia? Recorded in collaboration with Gorillaz member Remi Kabaka Jr handling production duties, sonically the band have opted to open their playful dynamic to as many sprawling influences as possible, simultaneously leaning into synth-laden new wave territory whilst citing Fela Kuti's political messaging and worldly psychedelia as an integral aspect. As lyrically snide and sharp as ever, the reliable brand of tongue-firmly-in-cheek socio-political commentary reaches ludicrous new heights when unpacking the band's success to date, their self-awareness of being signed to a subsidiary of a subsidiary of another soulless corporation aggressively at odds with the members' personal ethos, and even the increasing admiration/begrudgery that stems from the ascension within the eyes of their supporters. It's all clever, dense, humorous and delivered via an onslaught of razor-focused bangers. In essence, it's Yard Act.