New releases this week: All genres

Review: In honour of Record Store Day 2025, Canadian-American alt-rockers Big Wreck have decided to reissue one of their most popular albums, 2012's The Albatross. Available in limited numbers (only 1,000 of this CD version was pressed), it not only includes the freshly remastered original album in full, but also three alternate versions, rare bonus cut 'Fade Away', and a raucous live recording of title track 'Albatross'. The original album remains a timeless alt-rock classic where raw guitar riffs, bluesy solos and Ian Thurnley's distinctive lead vocals wrap around thickset bass and punchy drums. For proof, check standouts 'Wolves', 'Glass Room' and the rowdy 'The Rest of the World'.

Review: While not one of David Bowie's best-known achievements, masterminding the world's biggest-ever 'non-TV' satellite broadcast is undoubtedly an impressive one. It took place at London's Riverside Studios in 2003, with the Thin White Duke - accompanied by his regular backing band - performing then new album Reality in its entirety, live to 86 cinemas in 26 countries. This Record Store Day release presents the concert in its entirety (the encore was not broadcast at the time), delivering a superb document of a unique event. Of course, Bowie was in fine form, with the immersive sound mix by regular collaborator Tony Visconti capturing the legendary artist at the peak of his powers.

Review: By the time Kenny Burrell took the stage at the Five Spot Cafe in August 1959, he had already 90-degree head-turned his best jazz fellow travellers with a glissando of Blue Note LPs. But this gig, his first live date as a leader, brought a new kind of magic. Contracting Art Blakey, Tina Brooks, Roland Hanna, Bobby Timmons, and Ben Tucker on band duties, Burrell confidently executed a suite of hard bop soaked in sweat, swing, and soul. This 3xLP brings that steamy summer evening back to life in full analogue detail; housed in a tip-on trifold jacket with an accompanying booklet of rare Francis Wolff photos, an essay by Syd Schwartz, and new reflections from Burrell himself, it's a vivid snapshot of a moment when everything clicked.

Review: Soul legend Isaac Hayes' enduring legacy as a soul visionary echoes through this second volume of his singles, which picks up from where the first left off. The collection spans 1972 to 1976, a time when Hayes transitioned from Stax to his own Hot Buttered Soul label. Tracks like 'Hung Up On My Baby' and the relentlessly funky 'Chocolate Chip' showcase his blend of lush orchestration with raw, gritty grooves, a style deeply rooted in the soul-rich streets of Memphis, where Hayes' early musical foundations were laid. As he moved away from Stax's structure, Hayes embraced a new sense of creative freedom, merging cinematic soul with the emerging sounds of disco, perfectly captured in 'Disco Connection'. The production, unpolished and alive, channels the intensity of Hayes' sound from the early 70s, pushing boundaries while remaining deeply personal. This release is a reflection of the man's profound influence on soul music, one that continues to reverberate through generations.

Review: Journey Through Life witnesses Afrobeat pioneer, pallbearer and powerhouse Femi Kuti's very latest transformation in sound, as we witness the artist turn vividly, self-reflectively inward. The LP proposes a rare self-produced window into Femi's personal evolution, spanning childhood memories to fatherhood and, of course, the unshakable presence of family. As he puts it: "At the end of the day for me family is all that matters. The essence is to manage such events and let love prevail." Long celebrated for his uncompromising political voice, Femi leans evermore into an already evident vulnerability, revisiting earlier material through several, pylonic stylistic anchors: his signature horn-laced grooves, not to mention themes of personal legacy and posterity.

Review: A treat for Pink Floyd fans, as recordings of two legendary concerts from 1969 - sneakily captured by members of the audience - are bundled together on one must-check CD. The first seven tracks showcase a portion of the legendary band's distinctively psychedelic performance at Plumpton Racecourse, Sussex (then host to the 'National Jazz and Blues Festival'), offering up twisted, elongated takes on early material (including 'Set The Controls for the Heart of the Sun' and a fine medley known as 'The Journey'. The final four tracks were recorded in Port Talbot and include breathtakingly brilliant, jammed-out interpretations of 'Careful With That Axe Eugene' and the pinnacle of psychedelic-era Floyd, 'Interstellar Overdrive'.

Review: Rebecca Taylor arrives at third album A Complicated Woman in a very different place to where she was before the release of her previous full-length, the Mercury Prize-nominated Prioritise Pleasure. Now a bona-fide pop star, the South Yorkshire chanteuse now has to deal with heightened expectations and her own experience of fame. By the sound of A Complicated Woman, she's handling both with aplomb. That's not to say that the lyrics avoid difficult subjects - her own worries remain front and centre - but the delightfully grandiose production, extensive use of choirs and orchestras, and Taylor's own penchant for penning stadium-sized sing-alongs deliver a maximal pop gem fitting her genuine star status. Rotherham's finest has never sounded so good (or, it should be added, explicit - there are some genuinely adult themes on display).

Review: Nowadays regarded as the stuff of punk legend, the chaotic and ill-fated jaunt undertaken by the Sex Pistols across the US in January of 1978 was hindered by so many differing factors, it was almost as if they were set to fail. Plagued by poor management while trapped on a label with no real idea how to market such a tumultuous roster outlier, the band found themselves performing for those there out of mere curiosity more than their targeted audience or genuine fans, culminating in severe burn-out in real time, captured on these recordings. Finally, for the first time, several of these shows have been retooled to their correct sequencing with this collection reflecting the debaucherous live sets in all their feral glory that took place on January 5th at the South East Music Hall in Atlanta, Georgia, January 10th at the Longhorns Ballroom in Dallas, Texas, and January 14th at the Winterland Ballroom in San Francisco, California. Boasting all of the essential anthems from 'God Save The Queen' to 'Pretty Vacant' and 'Anarchy In The UK', behind the energy is the sound of a band imploding, while today not all wounds have healed with the surviving members currently enjoying a celebration of their iconic Never Mind The Bollocks LP with former Gallows frontman Frank Carter stepping in for MAGA man Jon Lydon, who continues to lob barbs at his former bandmates whenever given half the chance.

Review: There's a good reason that the Viagra Boys' latest album is self-titled. Unlike their previous album, 2022's satirical, politically-charged Cave World, the Swedish post-punkers' latest set is lyrically far more introspective, with frontman Sebastian Murphy offering (in the band's own words), a "self-deprecating exploration of his own absurdity" (or, in the case of opener 'Made of Meat', "your mom's Only Fans"). Musically sitting between energetic, horn-heavy early 80s post-punk and grunge-fired US alt-rock - with occasional nods to more tropical and melody-driven flavours - the album is heaps of fun with strong songs aplenty, not least the jaunty 'Pyramid of Health', the low-slung, synth-sporting 'Waterboy' and the surprisingly pastoral 'River King'.

Review: Originally issued in skeletal form as a CD-R in 2004 and completed posthumously by Peter Christopherson and Danny Hyde in 2006, this reissue captures Coil’s final studio-era transformation — leaner, sharper and pulled into strange rhythmic shapes by live performance energy and Ableton-era experimentation. The Weston-super-Mare collective, once studio-bound, now wrangle blown-out beats, sampled horns and hurdy-gurdy into ceremonial, fractured pop. ‘The Gimp (Sometimes)’ and ‘Teenage Lightning (10th Birthday Version)’ hum with unstable joy; ‘Sex With Sun Ra (Part One - Saturnalia)’ becomes a dense, writhing invocation; its sequel folds in eerie pipe drones and Christopherson’s heavy edits. The ‘Wraiths and Strays’ pair trace the evolution from rehearsal to stage, adding field recordings, live vocals and modular sprawl. Even their lullaby cover, ‘All the Pretty Little Horses’, feels raw and revelatory. This is Coil at their most vulnerable and direct, embracing rhythm and song form without compromising strangeness — a defiant, dreamlike document of a band pushing forward even as time ran out.

Review: Robert Smith has always treated remixing less like revision, more like ritual — a habit that’s followed him since his days in Crawley, West Sussex, piecing together worlds from scraps. This triple-disc release feels assembled with obsessive care, mapping out every possible mood lurking beneath the surface. There are club-ready flips, yes — Sally C, Danny Briottet and Gregor Tresher all push the rhythm forward — but they sit beside glacial pieces that feel more like haunted sketches than reworks. Mura Masa’s take on ‘All I Ever Am’ is disintegrated almost beyond recognition, its vocal a flickering memory. Mogwai’s ‘Endsong’ feels like the end of the world in slow motion. Even Chino Moreno turns in something striking — ‘WarSong’ morphs into a sludgy howl with heat-warped edges. But it’s the sequencing that surprises: these aren’t bolted together, but grouped in arcs, as though Smith were arranging the bones of an old idea into something still alive. Four Tet’s version of ‘Alone’ is a high point — deeply textured but featherlight. What matters is the feeling of being drawn somewhere, and Smith’s hand never letting go.

Review: More than four decades after he first appeared in smudged eyeliner and a mop of jet-black hair, Robert Smith is still finding new ways to pull his music apart and stitch it back together. This new remix collection — assembled and curated by Smith himself — feels less like a victory lap and more like a restless dissection of a legacy he’s still actively shaping. The collaborators here are hardly incidental: Four Tet, Orbital, Âme, Chino Moreno, Mura Masa, Trentemøller, Mogwai. It reads like a list built by someone still hungrily tuned into the present, not stuck in the past. And true to form, the results are all over the place — a feature, not a flaw. Some tracks lean into grandeur: Paul Oakenfold’s take on ‘I Can Never Say Goodbye’ opens with all the sweeping melodrama you’d expect, while Daybreakers stretch ‘WarSong’ into widescreen synthwork. Elsewhere, Shanti Celeste and Ex-Easter Island Head bring a strange intimacy to ‘Alone’, teasing out its ache with a different kind of spaciousness. At times, you wonder if Smith enjoys seeing how far his work can be bent before it breaks. But it never does — even filtered through others’ hands, his sense of tension, drama and deep emotional unease holds everything together.