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Review: Originally issued back in 1998, Mezzanine remains the most commercially successful album released by Bristol troupe Massive Attack, thanks in no small part to the Liz Fraser-featuring "Teardrop". This third album signalled a change in sonic direction that played more explicitly on the darkness and tension that was always an undercurrent of their much loved debut Blue Lines and successor Protection. After numerous bootlegs over the years, Virgin have done the right thing and presented this official reissue of Mezzanine to appease fans of Massive Attack and it's clear the LP has lost none of it's bewitching power. The Quincy Jones and Isaac Hayes sampling "Exhange" and "Exchange" remain a delight in particular.

Review: Since the glorious synth pop years of Japan, David Sylvian has journeyed into many other realms as a musician. The experimental nature of his formative band set the tone for a career of genuine intrigue, demonstrated wonderfully on this compelling album from 2009, reissued as a double vinyl release to foil some astronomical second hand prices. Manafon centres around pieces of free improvisation, experimental rock and chamber music, with Sylvian's eloquent voice guiding your ear through all manner of fascinating soundscapes and story scenes. With contributors including Christian Fennesz, Evan Parker, Keith Rowe and Toshimaru Nakamura, this is a widely hailed piece of leftfield art that ranks as one of the brightest jewels in Sylvian's glittering career.

Review: Cruising the slipstream of Black Messiah, D'Angelo's debut album gets a timely reissue 20 years after its release. The neo-soul foundations dig deep with every nuance and subtlety D'Angelo has become known for; the Gaye-level harmonies of "Crusin'", the jazz meanders of "Sh*t Damn Motherf*ker" and the unstoppably sexual drive of "Lady"... If this isn't in your collection already, now is most definitely the time.

Review: It has been said before that Polly Jean Harvey's 1998 album, Is This Desire, marked a watershed moment in her career. A veritable coming of age record that failed to match the commercial heights of To Bring You My Love, but was actually a far more complete and personal thing. Less angry than preceding efforts, it painted a more balanced and accurate portrait of an artist whose formative years were pockmarked with media analysis and criticism of her visible powerful attributes - sexuality and fury.

Coupled with the fact that Harvey has never been one to pander to scenes in the hope of top ten chart success, and you can only imagine how happy she was with the finished product. And all this is before we start banging on about the musicality, from title track's subtle, hushed baritone blues to the garage rock-out of 'A Perfect Day Elise'.

Review: Polly Jean Harvey broke into the common conscious with her unique and individual approach to alternative rock, and she's managed to maintain that aural autonomy throughout a storied career that has simultaneously found favour in the musical mainstream and refused to stray far from the leftfield. A difficult balance to strike, this, her eighth solo studio album, is indicative of that point. There's nothing here not to enjoy, but there's very little here you could predict.

Not least given where it sits in her back catalogue. Production began as the seminal but decidedly hushed White Chalk was released, and this record couldn't be more different from the preceding LP. Doing away with introspect, for the most part anyway, and refocusing attention away from pianos, it's a rousing indie collection that further cements the artist as one of Britain's national treasures.

Review: Way back in 1998 when Massive Attack's career-defining "Mezzanine" was first released, legendary dub technician Mad Professor cooked up some radical reworking. They now get their first official release alongside dubs of two tracks that never actually made it onto the album - Metal Banshee: a dub version of "Superpredators" which was a cover of Siouxsie and the Banshees' "Metal Postcard", and "Wire", which was actually recorded for the film "Welcome to Sarajevo". Wild effects, plenty of knob twiddling and oodles of reverb define this freaky late night collection and mark another essential release in the catalogue of the already legendary Mad Professor.

Review: Bob Marley & The Chineke! Orchestra marked the 60th anniversary of Jamaican Independence with a special concert that showcased Marley's most famous songs all recorded with new instrumentation and orchestration. Trevor Nelson presented the project and he tapped up Skip Marley, an inheritor of his family's famous musical legacy and who made his debut UK performance for this concert which was recorded for this album on Island Records. British singer-songwriter JP Cooper plus Jamaican born and Birmingham based soul, gospel and R&B legend Ruby Turner also featured.

Review: Though he was already in our top 10, 'Foreverandevernomore' might just be the album that makes Brian Eno one of electronic music's top 5 greats. Reflecting on the conundrum that is Earth's increasingly precarious climate, it for the first time ever features Eno singing on nearly every one of the featuring 10 tracks. Briefly, we need to fall in love again, but this time with Nature, with Civilization and with our hopes for the future, opines Eno. The sonic manifestation of this is a blue, metallic drone album that pits influences as far back as Greek mythology against those as modern as aviation, sonically reconciling old and new.

Review: Over the last 12 months, Polly Jean Harvey has delivered remastered versions of many of her most acclaimed albums, while also releasing collections of demo recordings for each set. The latest to get this treatment is her critically acclaimed set Stories From The City, Stories From The Sea. Famously, most of the songs focus on love and relationships and were written while Harvey was living in New York City at the tail end of the '90s. As with her other collections of demos, most of the early versions showcased here feature little more than Harvey on guitar and lone or multi-tracked vocals. This raw and stripped-back approach gives new life to some songs, with highlights including the heart-aching 'The Mess We're In' and fuzz-soaked 'This Is Love'.

Review: When he released third album "Me Against The World" in 1995, Tupac Shakur was arguably the biggest name in hip-hop. As we now know, it wouldn't last, with the LA rapper losing his life in a drive-by shooting 12 months later. As tragic as his demise was, his music still resonates and this album - here reissued to celebrate its 25th anniversary - is arguably the best of the lot. Produced by an all-star cast of beat-makers (Brian G, Easy Mo Bee, Tony Pizarro and Moe ZMD included), the set offered a glossy and polished take on the then dominant gangster rap style while including numerous nods to R&B, swing and G-funk. If you don't already own a copy, grab one of these pronto.

Review: Beastie Boys Music is a new greatest hits compilation album that serves as a companion to 2020's Spike Jonze-directed Beastie Boys Story and 256-page photo book, Beastie Boys Book. The double vinyl affair takes in 20 classic tracks that span the iconic group's more than 30 year career, with the biggest of the big such as 'No Sleep', 'Sabotage' and 'Intergalactic' all making the cut. By now these are well worn classics, but their impact on rap cannot be overstated, and the tunes still get any party banging thanks to the immediacy of the beats and sharpness of the rhymes.

Review: It was big news when Daft Punk were enlisted to record the soundtrack to Disney's remake of Tron. While the film has perhaps faded from view slightly, the soundtrack remains a popular notch in the French duo's latter-day legacy. Here, we get treated to a reissue of the big budget remix collection which came out in 2011. It's a neat snapshot of the electronic music landscape at the time, ranging from The Glitch Mob to M83, Moby to Paul Oakenfold, Boys Noize to Photek and the late, great Avicii. You certainly wouldn't get the same cast of characters together for a similar package now, making this a document of the era as well as an essential collection of premier league dance music.

Review: 30th Anniversary Edition of the Cure's best-selling, Grammy-nominated album 'WISH.' This deluxe 45 track edition - compiled by Robert Smith - features 24 previously unreleased tracks & 4 new to CD tracks across three discs. And that's not to mention their four tracks that appeared exclusively on the mail-order cassette 'Lost Wishes', released in 1993, which have never appeared on CD or digitally, the previously unreleased song 'A Wendy Band', a previously unheard mix of the epic fan favourite 'From The Edge Of The Deep Green Sea', five rare 12" mixes, and an unheard live version of 'End' from Paris Bercy in October 1992.

Review: The Cure have a lot of iconic moments from throughout their career, starting with the angular goth rock of their early years right through to their long-standing position as headline treasures of British alternative music. Originally released in 1992, Wish marked their move towards a poppier sound, and 30 years on it still ranks as their most successful album to date. This reissue gives Wish the pomp and ceremony it deserves, letting perennial classics like 'Friday I'm In Love' shine anew for lifelong fans and newcomers alike.

Review: The second studio album from Yello was added to the pantheons of weirdo electronic pop some time ago. In fact, some 31 years ago to be exact. While not by any stretch the outfit's most famous effort, that belongs to fourth album, Stella, and in particular the 1980s movie anthem 'Oh Yeah', in many ways that track doesn't encapsulate the spirit of the band anything like the tunes here.

At times low slung ('Ballet Mecanique') and occupying a space somewhere between roots and fairground, in other moments tragically epic and approaching New Romanticism ('Quad El Habib'), while the music itself is wildly varied and unarguably original, the overall magic is still found in how much fun it sounds like they were having, and how much fun we have hearing it.