Back catalogue: Rock (All)

Review: Blackwater Holylight sacrifice their latest EP 'If You Only Knew' to the Suicide Squeeze gods, providing an intermezzo of cosmos and sludge. A chthonic dark psych explosion if we've ever heard one, we hear metal, shoegaze, and psychedelia culminate to an iconoclastic crunch point, as strange auraic statues of Cthulhu shatter before our eyes, evoking the god beast in actuality, not just representation. Lead track 'Wandering Lost' hears the band tear up constellate skies, as producer Sonni DiPerri shapes the track's many shifting structural tides, evoking the many emotional turmoils and stretching-thins of life; Sunny Faris (vocals, guitar, bass) further emphasises its point, that is, to embrace the inequitable unknown.

Review: Viva La Revolution indeed. The Adicts tore out of England's east coast, and specifically Ipswich, and immediately made an impact. Asked to change their name by Sire Records in a bid to appease the charts and TV bookers - although, oddly, one of the options was apparently The Fun Adicts, which raises more quandaries - Rockers In Orbit captures their huge sound in all its glory. Recorded live at Alabama Halle, Munich, Germany, depending on which way you're listening first impressions invoke breakneck punk, motoring metal, and even the romance and commanding power of The Cure at their loudest and most dominating. Ultimately, though, these guys just sound like The Adicts. A questionable reference point we can only assure you is meant as a total complement. Not a band people will forget in a hurry.

Review: Stockholm-based multi-instrumentalist and composer Art Longo impresses here with Echowah Island, a new album sure to wind its way into your affections. It was crafted over years in his home studio and is "psychotropical pop" drawing deep inspiration from late 80s music and dub. The album's lush soundscape evokes orange sunsets and ocean breezes and is layered with spring reverb, space echo and wah-wah effects that smooth out the edges as the steady pulse of vintage drum machines moves things on down low. A standout feature is Claudio Jonas, whose ethereal vocals recall classic French femme fatale singers of the 60s. Her poetic, kaleidoscopic lyrics add to a nostalgic dream world that gently bends reality and makes his both escapist and thought-provoking.

Review: Willow Avalon fashions after her Georgia upbringing a sharp, incisive debut LP. The splash debut artist’s lyrical lexicon is a fierce one, and that’s not to mention her rich backing instrumental palette of classic country and Americana. From whip-smart lines in ‘Homewrecker’ and ‘Yodelayheewho’ to moments of regret in ‘The Actor’ and ‘Baby Blue’, her storytelling never slips into cliché; “she gets at least as much of her musical talent from her mom's side,” says her father Jim White, as her Southern roots and filial retrospections permeate each song.

Review: "I'd prefer it to be called just a country album," said TORRES of her collaboration with Baker, nearly a decade in the making, "but I'm proud to have made a 'queer country' album." TORRES had the initial idea to turn to the genre, inviting Baker to collaborate not only because of her shared southern roots but also because she'd also had a similarly religious upbringing that ultimately saw sexual orientation judged and condemned. The result is some deeply autobiographic songwriting on tracks like 'Tuesday', about a traditional family's rage at discovering their daughter was gay, the lilting 'Sylvia' and 'Sugar In The Tank', with pedal steel meeting acoustic guitar strum and very intimate sounding vocals. Bound to cause controversy in certain areas of the US, but it's got the quality and distinctive flavour to stand its ground.

Review: This is the seventh album by chamber pop titans Beirut. The group, who are led by Zach Condon, have created their largest album to-date and it's among their most profoundly beautiful. The music originated in 2023 when a contemporary circus director, based in Sweden, who was creating a show based on an adaptation of a novel by German author Judith Schalansky about loss and impermanence asked Condon to write music. And who better than Beirut to score that theme. Condon's vocals are starkly beautiful with the tenderness of early choir music. The track 'Caspian Tiger' is among the most cinematic of the tracks on here with resplendent Renaissance influences and direct lyrics that are tear jerking and feel genuinely moved by the extinction of the great mammal, but could so easily be about a close friend lost.

Review: Over the past three years, Bo Rande and Tobias Wilner of Blue Foundation have shaped Close to the Knife into a mesmerising blend of dream pop, shoegaze and experimental electronics. The album deepens their signature atmospheric style with haunting vocals from Wilner and Nina Larsen plus guest appearances by Scarlet Rae, Helena Gao and Sonya Kitchell. Lush and melancholic in the extreme, the music evokes an introspective mood reminiscent of greats like The Fall. Contributions from Wang Wen's Xie Yugang and drummer Federico Ughi add richness to this deeply emotional and intricately produced journey through sound and feeling.

Review: Bran Van 3000's The Garden is their fourth studio album and another subtle evolution of their signature genre-blending sound. Rooted in prog-rock grooves and boogie flair, the album explores romantic and reflective territory without losing the collective's playful spirit. On the album, which arrives as a special for this year's Record Store Day, James Di Salvio is joined by longtime collaborators and fresh talent alike to create a lush collaborative soundscape that's rich in emotion and rhythm. The tracks all exude soulful vocals, brass-laced arrangements and global sonic textures, which help to make The Garden is a mature yet adventurous chapter in BV3's musical journey.

Review: Who can argue with them for wanting to repress this beauty? It's quite simply one of the best pop albums of all time. Tracy Chapman's voice is inimitable and she is, frankly, a genius. The timeless yet nostalgic 'Fast Car' is the unmistakable standout here - be teleported back to late-80s Britain (when it was a ubiquitous presence in public spaces) but know that if an emerging artist wrote that today it would still be a number one. Strictly speaking this is a 37th anniversary reissue - but who's counting? The label, with Chapman herself involved, have gone to meticulous steps to ensure it's an audiophile delight: Heavyweight vinyl and sourced from the analog master. The trusty Bernie Grundman, who is one of the best mastering engineers in the world, was the honoured hire in bringing this work of art back to life.

Review: Charles Rowell stops off for another release under his Crush Of Souls moniker, hammering yet another gothic sonic nail in the coffin. Recorded at the aptly named Catacomb Soul studios, where he had recently finished recording the antecedent release '(A)Void Love', Rowell's latest LP is dedicated to the French capital city Paris, but we've a sense that *his* Paris isn't *our* Paris. There are of course catacombs in Paris, subjacent to the metropolis' surface romances. With the LP's title punning on French words for "lizard" and "desire", a lustily unnerving synthpop record unfolds, and this is one mood requiring only the slightest touch of grimness to evoke: such as pitchy, drawled vocals on the otherwise glittery and well-rounded 'Cult Of Two', and eighteenth note tenebrae on 'No Soul', serving to bury an otherwise melodic tune in hollow chaos.

Review: Based out of Melbourne, Australia, Takiaya Reed (better known as Divide & Dissolve) is a one-woman monolithic force of industrial-tinged, neo-classical leaning instrumental doom metal. Originally a duo, 2023's fourth full-length Systemic marked the first effort from the project following the departure of percussionist Sylvie Nehill (of M?ori and White-Australian heritage), with guitarist/saxophonist Reed (of Tsalagi and African-American heritage) embarking on a solo venture from there on out. Her second singular display of overtly political, droning sonic dread comes in the form of Insatiable, which coalesces mercurial beauty with bombastic abrasion, almost as if sonically illustrating the warring of mindsets active in our collective conscious. From drawing ire back in 2018 for their controversial music video for 'Resistance' which featured spitting and spraying urine-coloured water on monuments of colonial figures such as Captain James Cook and John Batman, Reed has made it clear ever since that their punishing instrumentals are designed with the artful intention of "decolonising, decentralising, disestablishing, and destroying white supremacy", which she makes overwhelming ends to accomplish without a single word uttered.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


If you don't know (well, even if you do know it is still true), Californian multi-instrumentalist Brian Ellis is Egyptian Lover's keyboard player, and is also a member of Campus Christi with Peanut Butter Wolf. He steps out alone here with a new and outlier funk album that shows off his idiosyncratic style. It is a raw and dense sound that mixes up bold funk and gritty psychedelic soul while embracing the darker edges of both styles. Along the way, Ellis explores themes of truth, authenticity and the pitfalls of wealth while reflecting on the cost of giving away one's heart. Tracks like 'The Real Deal' and 'Money Drives Me Crazy 'capture these ideas with unfiltered emotion.

Review: The Butcher Basement is a reimagined and blood-soaked rebirth of Extermination Dismemberment's 2010 debut album, which is dripping with gore and heavy with brutality. The wholly re-recorded release captures the grotesque atmosphere of its original conference but with added detail worked into the sounds. With these revamped compositions of fresh material rooted in their early style, plus sharpened production, these metal sounds hit harder than ever and thrive in morbid theatrics. Rather than just a simple reissue, The Butcher Basement is a whole new resurrection.

Review: Reconnecting through their shared musical heritages, Rhiannon Giddens and Justin Robinson present What Did the Blackbird Say To The Crow, a mesmerising collection of fiddle and banjo tunes tied to North Carolina's many oral and digital traditions. After their late mentor Joe Thompson bequeathed them a trove of recordings to work with, the already esteemed, torch-bearing duo breathe new life into 18 handpicked rethinks and honorific originals, some sung, others purely instrumental. Recorded outdoors at sites meaningful to Thompson and Baker, their sessions were joined by the rare, overlapping calls of two cicada broods, unheard together since 1803. Giddens calls it "music made for your community's enjoyment and for dancing."

Review: Some 37 haiku poems are given an avant-garde, 64-minute musical backing with translations from poet Harry Gilonis, on this unique project by composer and multi-instrumentalist Tim Hodgkinson (Henry Cow) and vocalist Atsuko Kamura. We hear a vignetting lingual interplay, with lines in English by Hodgkinson sung in Japanese by Kamura, as a wide instrumental span covers percussions, violin, viola, harp, clarinets, guitars and electronics result. Recorded between Tokyo and London, the album offers a startlingly satisfying sonic renga (a Japanese poetic form encompassing a succession of haikus), lending the brevity of classic haiku an expansive, stretched-out prosthesis. From the 17th through to the 20th-century, this is a subduing but still irregular experience, as it formally demonstrates the laconic and aphoristic essence of the haiku.

Review: Rhode Island post-metal avant-garde duo The Body have made a name for themselves due to their caustic maelstrom of harsh, brutalist experimentalism as well as their prolific output and collaborative nature, releasing collab albums with the likes of Full Of Hell, Thou, Uniform, and most recently, Dis Fig. Their latest endeavour sees the pair link up with another duo of musical extremity, Toronto, Canada's recently reformed industrial two-piece Intensive Care. Was I Good Enough? has been on the cards since the artists first began making plans as far back as 2018, trading, warping and ruining mutual sessions with layers of loops, distortion, samples and even dubs, constantly striving to find the ideal haunting balance between both of their sonically hideous, oppressive worlds. For all of our ears' sakes, they just might have succeeded.

Review: Genre-defying trio Little Barrie & Malcolm Catto - their bassist Lewis Wharton is the third one, if you're wondering - have created an album brimming with explosive energy and diverse influences fusing rock 'n roll, deep funk, jazz, and fuzzy atmospherics. Barrie Cadogan (guitar/vocals) has played with everyone from The The to Primal Scream, but this LP moves well away from indie templates, employing a freeform approach, experimenting with tempos, volumes and textures. Tracks like 'Spektator' and 'Sick 8' showcase their ability to build subtle momentum and then let it slip back, allowing space for intricate instrumentation and lots of vivid expression.

Review: Los Jaivas' Alturas de Macchu Picchu arrives newly remastered and reissued by state51 on heavyweight wax, and it remains a landmark of South American music. Its blurring of psychedelic rock, Andean folk and Pablo Neruda's poetic power makes the album, which was recorded in exile during Chile's Pinochet era, an evocation of both the spirit and struggle of Latin America. Tracks like 'La Poderosa Muerte' and 'Sube a Nacer Conmigo Hermano' swirl with emotion and complexity to deliver a cinematic spiritual experience. Inspired by Incan ruins and resistance, Alturas is more than music-it's a cultural beacon that invites you into a timeless soundscape.

Review: Mannequin Pussy's second LP Romantic was a watershed wilding for the Philly hardcore punks. In 2016, as the aches and anguishes of the first quarter-century were increasingly felt, this deceptively billed "indie rock" band would proportionally increase the very same trash-humping snarl that could be heard in their sound as early on as 2012. A critical breakthrough despite years in the game, Romantic sounded to burn the tired institutional flag of romance, making way for a more vital, tumultuous, unwieldy love, not anchored in prescription: peak punk climaxes verge on post-rock limit states, where jangle pop moments fuse murderously with grimacing punk (just listen to 'Denial' for the best case of this).

Review: Melvins' back catalogue is so strong that they could make a living just re-releasing the hell out of it. But Melvins' Buzz Osborne is a true punk and has such an unrelenting passion for music that they will never stop. The good thing is that he is under no illusions that he's great... Melvins in 2025 sound absolutely incredible, like Black Sabbath good. The line-up for this album takes things back to 1983 as the band's original drummer Mike Dillard makes a relatively rare appearance. It's only the third album he's made with Buzz Osborne, but absolutely is it gold when it happens. Dillard famously played in a short-lived pre Nirvana group with Kurt Cobain called Fecal Matter and there's certainly parallels to Nirvana's frantic approach to drums on this album. In terms of the rest of the music it's tuneful in a heavy way and it's that balance between the two that was the cornerstone of grunge and you can hear how Melvins became such a prevalent influence, playing a role in shaping the sound of Nirvana, Soundgarden and countless others.

Review: This unmissable two-disc bundle nets Metallica's explosive live performances at the Seattle Center Coliseum on 29-30 August 1989, during their legendary Damaged Justice Tour. Widely regarded by fans as among of the band's finest shows, this tearout time capsule boasts a stellar setlist, including 'Seek & Destroy', 'For Whom the Bell Tolls', 'Creeping Death', 'Battery', 'Master of Puppets' and 'The Thing That Should Not Be'. Unleashed to the world like a cageful of batwinged, sledgehammer wielding demons, it came right after their fourth LP release And Justice for All, which in turn set the Damaged Justice tour in motion; these menacers will always come back to haunt us through the tube amps.

Review: This reissue of Janitor of Lunacy recaptures Nico in a stark, spellbinding 1983 live performance at Manchester's Library Theatre during a period when she called the city home. Spread across 20 tracks on double vinyl, the album distils her haunting presence and singular voice into raw, intimate recordings that draw from four of her solo records as well as Velvet Underground classics like 'Femme Fatale' and 'All Tomorrow's Parties.' The set also includes a brooding take on Bowie's 'Heroes' which is, like the rest of the pieces, minimalist and emotionally charged. This was Nico stripped down to her essence, namely bleak, beautiful and moving.

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: Grand Central Records founder and Manchester mainstay Mark Rae is back with New Town Ghosts, a powerful novel four years in the making that is set during the sweltering summer of 1976. This emotionally rich coming-of-age story is told through the eyes of ten-year-old boys navigating friendship, responsibility, and growing up and is paired with a nostalgic soundtrack of ten original songs performed in four-part harmony with strings, horns, choir and live instrumentation. The music evokes the warmth of a radio playing in a sun-drenched garden with themes of nature, wheels (ie via skateboards, wheelchairs and prams) and youthful rebellion echo throughout.

Review: A posthumous release that furthers Arthur Russell's now legendary status. Recorded in Downtown New York City on December 20, 1985, it's an intimate, unedited solo live performance recorded at Phill Niblock's loft space known as Experimental Intermedia Foundation. The takes are very raw and unpolished that it makes you feel like one of the very few in attendance. 'That's the Very Reason' is a beautiful, tender experimental folk piece showing he needed very few materials in order to send listeners on a journey of transcendence. 'Too Early To Tell' is highly idiosyncratic and produces a sound not normally associated with cello. And 'Sunlit Water' has an oriental feel and provides beautiful resolve to a resplendent set.

Review: Before Marc Bolan's untimely passing in 1977, T. Rex was a cultural whirlwind, an electric force that blurred the lines between glam rock and larger-than-life mythology. The band's influence during the early 70s reached levels that not only defined a generation but also cultivated the feverish phenomenon known as "Trextasy," rivaling even the mania of Beatlemania. Amid the hits that catapulted them into superstardom, hidden on the flipsides of their most famous singles, were some of Bolan's most vivid and unpredictable musical momentsitracks that now stand as an alternative narrative to the T. Rex story. This collection brings together 27 of these gems, charting a journey from the swaggering energy of 'Telegram Sam' to the reflective tones of 'Celebrate Summer.' These B-sides, often overlooked in favour of their A-side counterparts, show a different side to Bolan's genius. Many of these tracks, such as 'Cadillac,' 'Thunderwing,' and 'Lady,' could have easily stood on their own as hit singles, their impact only diminished by their position as B-sides. 'Born To Boogie' gets a newly discovered single mix, while 'Sunken Rags' offers an introspective side of Bolan that feels like a hidden treasure. The inclusion of Gloria Jones adds a fresh layer of soul to the proceedings, her voice a perfect foil to Bolan's otherworldly swagger. These tracks, strung together in one place, feel like an alternative history of T. Rex, highlighting the artistry that was often buried beneath the mainstream success. They not only reaffirm Bolan's stature as a visionary, but they also open up new pathways for the listener, offering an alternative lens through which to understand the full depth of his music.

Review: British conspiracy thriller Utopia follows a group of young adults who, after discovering a mysterious comic book - The Utopia Experiments - embark on a manic quest for corporate restitution and prophetic fulfilment. As a shadowy government organisation detects their plans and resolves to track their every move, we watch an empathic but deadly game of cat-and-mouse; and Cristobal Tapia de Veer's acclaimed score only heightens the tension. This new 2xLP edition includes such instantly recognisable motifs as 'Brainwave Playground', 'Satan's Waltz' and 'The Monarch's Pyramid', capturing the series' eerie and intense atmosphere. The score continues to resonate to this day, following Tapia de Veer's success with The White Lotus and Babygirl.

Review: Having recently been refused entry into the US due to their staunch anti-Trump stance, London's own pub rock turned homegrown punk icons UK Subs shall reissue their criminally underrated Japan Today for Record Store Day 2025. Originally released in 1987 and ranked letter J in the Subs' A-Z album list, this LP has been out of print for the past decade and finally returns home to wax for both longtime fans who've worn their original pressing down to PVC scraps and late to the party newcomers doing their most studious punk homework. Remastered with updated artwork, featuring both Knox and Daryl Barth wielding a double-guitar assault, the record boasts some of the band's most overlooked gems such as 'Another Cuba' and 'Thunderbird Wine'.

Review: American blues rock's other famous double zed, ZZ Ward doubles down on her blues instincts with her fourth studio album, going to the logical ends of her newfound motherhood and creative independence. Produced with longtime collaborator Ryan Spraker, the record folds four tracks from her recent EP 'Mother' into a broader canvas of originals and carefully chosen covers. In the midst of early parenthood, the songs confront exhaustion, strength, and clarity with grit and grace. "It just took me a long time to get here," she reflects, describing the album as a way of reclaiming her place in the genre, as lead single 'Love Alive' lights the way to a blues-traditional, real-life sound and upcoming tour, Dirty Sun. Messy, honest, and unmistakably hers.

Notes: Todd Rundgren performs live at the City Winery in NYC in 2012.

Available on Blu Ray for the first time ever, The Unpredictable Todd Rundgren (filmed Live at the City Winery NYC in 2012) showcased Todd's latest musical vision of a contemporary fusion of styles - rock, soul and electronica - that continued the tradition of boundary-breaking works from this visionary genius. Bonus interviews with Todd, Karim Sulton and Jesse Gress included as a treat for fans!

Region code: universal