Juno Recommends Rock / Indie / Folk / Metal / Punk / 50s / 60s: June 2024

Review: Monaco's debut album Music For Pleasure presents a mix of catchy tunes and pulsating dance tracks. Tracks like 'What Do You Want From Me?', 'Sweet Lips', 'Happy Jack', and 'Blue' shine musically amd remind you of the classy New Order tracks they are inspired by. The album's dual personality, oscillating between indie rock and dance tracks, creates a busy listening experience where you get a lot of both for the enjoyment. Notably, the hit single 'What Do You Want From Me?' stands out as a highlight. Overall, Music For Pleasure offers many moments and for those that missed this the first time back in 1997, this nicely packaged design makes it the version to get.

Review: Emotional Rescue takes another trip into the twisted world of post-punk dubs, electronics and oddities here at the hands of DJ, collector and radio host Gary The Tall. The original comes from German duo and new wave innovators Die Radierer whose pop-reggae jam 'Batman' is irresistibly catchy with its low-slung beats and lazy, sun-kissed melodies. It appeared on 1983's In Hollywood and was recorded at their home studio on a Tascam 4-track cassette recorder. Gary The Tall's remix finds him teaming up with Aaron Coyles under his new alias of Exotic Gardens and the results are loopy and dubbed out to perfection.

Review: R.E.M.'s Fables of the Reconstruction, receiving deluxe reissue treatment, marks a transitional period for the band. Amidst relentless writing and touring, the album reflects a slight strain but maintains R.E.M.'s distinct character. With a Southern-infused sound evoking small-town imagery, it showcases Michael Stipe's emerging lyrical themes and the band's evolving musical ambitions. From the jangle-pop of 'Driver 8' to the cinematic 'Feeling Gravity's Pull,' the album navigates a range of styles. Fables has aged well, appreciated for its eccentric style and offbeat subjects. Overall, it's a very fine addition to R.E.M.'s catalogue, offering a glimpse into a pivotal moment in the band's journey.

Review: Japanese Whispers stands as a crucial juncture in The Cure's evolution, capturing a transformative period for the band. Amidst lineup changes and creative exploration, this compilation album bridges their gothic roots with a newfound synth-pop sound. Tracks like 'Let's Go to Bed' and 'The Lovecats' showcase Robert Smith's emerging versatility as a songwriter and producer, marking a departure from their earlier introspective rock. Despite its status as a compilation, Japanese Whispers is a gem often overlooked for its significance. This reissue offers fans a chance to rediscover its brilliance. With its effervescent melodies and cheeky nods to jazz and dance music, Japanese Whispers laid the groundwork for The Cure's future endeavors and remains a testament to their enduring influence.

Review: Lying is rather like borrowing money from an alternate reality. The liars don't exist in it and yet they bank on its invented energy. American singer-songwriter and former Czars frontman John Grant knows this all too well, not least the degree to which the lie is indelibly riven across every facet of modern society; his latest album takes its title after the concept and, though its message is a bitter pill, it's also packed with humour and bombast, stylistically straddling everything from electro-pop to alt-indie in a whirlwind of named (and in the lattermost case, featured) influences from the Art Of Noise to Laurie Anderson to Vangelis to (the album's producer) Ivor Guest. A politically sprawling project spanning many contemporary gripes, The Art Of The Lie is an extreme effort at sublimating the frustration of the now.

Review: This new long player from Ministry of Sound is their contribution to Record Store Day 2024 and it takes the form of a bunch of mixes of London Grammar's various different tunes. Global house outfit Camelphat feature a couple of times with some nicely emotive and upbeat sounds, 'Strong' gets a jump up drum & bass rework from High Contrast, Henrick Schwarz brings his emo house touch to 'Wasting My Young Years', MK adds some dance-pop sheen to 'Oh Woman Oh Man' and Dennis Ferrer remixes 'Sights' into a tense tech cut with snappy drums.

Review: The discovery and subsequent release of The Adverts' Rehearsal Tape is a punk rock revelation. Dating back to 1977, this cassette recording, initially overlooked by Chiswick Records, finally sees the light of day thanks to Henry Rollins' keen ears and determination. As pioneers of the UK punk scene, The Adverts' influence looms large, with their singles and debut album cementing their status as classics of the genre. Rehearsal Tape offers a raw and unfiltered glimpse into the band's early days, capturing their energy and spirit in its purest form. Transferred and mastered with care, the tracks on this release sound incredible, retaining their original rawness while benefiting from modern production techniques. For fans of punk history, this vinyl release is a treasure trove, featuring The Adverts at their raw, unbridled best.

Review: It appears that Taylor Swift has caused somewhat of a revolution, as since the highly publicised feud with her former record label led the pop megastar to re-record and re-release her entire back catalogue, several other artists appear to be following suit by realising there lay a method ahead to reclaim their art. The latest act to take up arms against a faceless corporation (or merely be influenced by the "Taylor's Version" phenomenon) is alternative rock heroes Incubus, who after much delay, are finally ready to unveil an entirely re-recorded version of their critically acclaimed 2001 full-length Morning View. Re-dubbed Morning View XXIII, this newly revitalised version of their seminal fourth album comes on a limited blue vinyl double LP, complete with sonically sprawling renditions of some of their most essential anthems from the alt-metal bounce of 'Nice To Know You' to the anthemic serenity of 'Wish You Were Here' all the way to the aquatic funk of 'Are You In?' If you're yet to cop this early 21st century classic, make Incubus' version your only option.

Review: The reissue of The Only Ones' sophomore album, Even Serpents Shine, is a treat for fans and collectors alike. Following their acclaimed self-titled debut, it boasts a mix of heavy, brooding tracks and gorgeously crafted pop gems such as 'Flaming Torch,' 'Out There In The Night,' and 'Someone Who Cares,' all examples of their talented roster and direction. The reissue, limited to 1000 individually numbered copies, is a must-have for enthusiasts of punk rock, power pop, and psychedelia alike, as Even Serpents Shine continues to shine brightly in the musical landscape.

Review: Another live album, another catchy title. By the time Northampton-born Bauhaus took to the stage at London's Hammersmith Palais it was all nearly over. First forming as Bauhaus 1919, referring to the first year the eponymous German art school was fully operational, between 1978 and 1981 they enjoyed significant success with a string of chart-topping (or near enough) albums, but illness leading to an ever-widening internal rift which would lead to their dissolution. In many ways Rest In Peace: The Final Concert (Live At Hammersmith Palais, London 1983) is the final throes of a great band that pushed post punk, avant-art-gothic-tinged-rock into new territories, and it's a great last will and testament. Infinitely infectious and always forward-thinking, while reunions and reboots have pockmarked the decades between this and now, we can't help but lament what was.

Review: Recorded at the Apollo Theatre in Oxford during the Manchester indie icons' Meat Is Murder tour, this selection from a lengthier set list on the night takes in tracks from that album - sizzling renditions of its opener 'The Headmaster Ritual' and 'What She Said', the improbably funky bassfest 'Barbarism Begins At Home' and the maudlin 'This Joke Isn't Funny Anymore' - alongside highlights from their eponymous debut like 'Miserable Lie', 'Still', 'You've Got Everything Now' and 'Hand In Glove'. One of the most influential bands of all time, caught at their creative peak - what more do you need to know?

Review: Mac the Mouth, AKA Echo & The Bunnymen's frontman, Ian McCulloch, once described 'The Killing Moon' as the greatest song ever written. Korova, the label that put out the album carrying said masterpiece, Ocean Rain, reiterated the point with a marketing campaign that branded the LP "the greatest ever made." Big claims befitting a huge record that cemented the Merseyside post-punks as one of the finest of their generation, With Our Best Suits On encapsulates the mood in camp at that time. Recorded just a year after the release of Ocean Rain, in Sweden's most musical port city no less, the performance unfolds with a captivating energy radiating through your speakers - Mac's vocals equal parts disparate and dominant, an air of heightened emotion resonating throughout what can only be described as an electrifying set.

Review: Jonathan Demme records Talking Heads performing live on their 1984 'Stop Making Sense' tour. Tracks include 'Psycho Killer', 'Heaven', 'Burning Down the House', 'Once in a Lifetime' and 'Girlfriend is Better'.

Standard HD Blu-ray

1080p High Definition
16x9 Widescreen 1.85:1 Presentation
88 minutes
English Dolby Atmos
English Stereo
English SDH and Spanish Subtitles
Colour
Rated PG
1984

Region code: B
Duration: 99 minutes
Extras: Language(s): English, Interactive Menu

Review: Wolf Alice's evolution from a duo to a quartet has been nothing short of meteoric. Over a decade since Ellie Rowsell and Joff Oddie first joined forces, the band has soared to remarkable heights. Their decision to repress their third EP, Creature Songs, on white vinyl for its ten year anniversary, highlights their commitment to honoring their roots while embracing their future. Wolf Alice's Creature Songs EP is a vibrant ode to '90s grunge, but with a distinct 2014 twist. The EP showcases the band's ability to seamlessly shift between raw, angst-filled tracks like 'Moaning Lisa Smile' and 'Storms,' to more melodic and atmospheric tunes such as 'Heavenly Creatures' and 'We're Not The Same.' While their aesthetic may nod to a bygone era, their sound is undeniably contemporary and powerful. With Ellie Rowsell's commanding vocals and the band's expertly crafted hooks and riffs, Creature Songs proves that Wolf Alice is not just a nostalgic throwback, but a force to be reckoned with in the present music scene.

Review: The second album by British alt-rockers the Mysterines, Afraid of Tomorrows, is the sophomore grunge outing by the Merseyside band, formed of Lia Metcalfe, George Favager, Callum Thompson and Paul Crilly. Inspired in part by the legendary New York music and arts scene documentary film Meet Me In The Bathroom - in which legendary performances by the likes of LCD Soundsystem, The Strokes, Interpol and Yeah Yeah Yeahs feature - Afraid of Tomorrows is edgy and cuspy to match, thematically reflecting on the changing face of music and the structures that house its promotion in the modern day. Building on lead singl 'Stray' and following their debut record, the band reflect on increasingly relevant themes of anxiety and paranoia, not to mention being led astray by moments of vulnerability, which pair well with the stern and minimally driving sonics heard throughout.

Review: It's hard to feel 'meh' about John Cale. In fact, it's impossible. The Welsh musician, Velvet Underground alumni and composer has given us 18 studio albums, including June 2024's Poptical Illusion, and there's nary a misstep in the lot. His latest plays out like a warm bath full of dreamy optimism, a follow up to the highly collaborative affair, Mercy, here we see the super-talent adjust his focus and fly out alone to prove the point. And prove it he does. Across 12 weird and unarguably wonderful tracks, Cale manages to defy genres, flitting between chamber punk and beach pop, theatrical croon-dom and syrupy downtempo. While there are dark-er moods, 'Funkball The Brewster', for example, on the whole this is smile-inducing, if bat-shit crazy stuff, from start to finish.

Review: The Only Ones' third album, Baby's Got A Gun, marked a departure from their previous self-produced work, as they collaborated with renowned producer Colin Thurston. Known for his work with artists like David Bowie and Iggy Pop, Thurston brought a new perspective to the band's sound. The album features guest appearances by Pauline Murray of Penetration, adding depth to tracks like 'Fools' and 'Me And My Shadow.' Fools stands out as the band's only cover song, originally by Johnny Duncan. Released in 1980, Baby's Got A Gun showcased The Only Ones' evolution while maintaining their distinctive style. Despite the album's critical acclaim, the band disbanded two years later, marking the end of an era for their unique blend of rock music.

Review: The band's self-titled debut in 1998 showcased Josh Homme's evolving sound, marrying stoner-rock roots with melodic hooks and quirky guitar work. Tracks like 'Regular John' and 'Avon' demonstrate Homme's emergence as a distinct vocalist, while bonus tracks like 'The Bronze' and 'Spiders and Vinegaroons' seamlessly integrate into the album's sequence, enhancing the overall listening experience. This remastered reissue provides a more accurate reflection of Queens of the Stone Age's evolution from their Desert Sessions experiments to their later best-selling albums. While their debut may not have foretold their platinum future, it remains a vital document of the band's early sound and a testament to their enduring influence on the rock landscape.

Review: Julian Cope's albums often fly under the radar, but they shouldn't. His exquisite voice and philosophical depth set him apart in the pop landscape. In the face of 80s superficiality, he refused to conform, drawing inspiration from esoteric realms. With Kate St John's oboe adding a touch of English melancholy, his music evokes images of green fields and ancient stone circles, a serene counterpoint to modern chaos. 'Head Hang Low' reflects Cope's search for stability after fame, while 'Sunshine Playroom' celebrates his enduring love with Dorian Beslity. Vulnerable and musically liberated, Cope's album is a breath of fresh air, bursting with springtime energy. This wider reissue should mark a second opportunity for people to appreciate his music.

Review: A live recording of The 1975's sold out show at Madison Square Garden on the 7th November 2022. Following up their latest full-length studio effort Being Funny In A Foreign Language, this live appearance captures the megaband in a different, candid light (sonically), though attendees would have reported a much different experience, with press rumours detailing a Matty Healy constantly beset by fidgeting, chain-smoking and offhand comments as to the then current state of things. All this painted an unfazed attitude, which actually served to help and not hinder the whopping performance; each of the band's hits cut ecstatically through the park.

Review: Perhaps the most abstract, clangorous and genre-defying entry in the formidable Royal Trux catalogue, 1990s Twin Infinitives is a sprawling, tactile odyssey punctuated by Neil Hagerty's acerbic guitar stabs and Jennifer Herrema's sleazy vocal free association. Through the thick squalling gauze witch Hagerty and Herrema superimpose on each track, ghosts of A/B song form emerge and disintegrate, with blues licks and disarmingly gentle croons offset by rumbling mechanical loops and sonic shrapnel. It really feels like the ground zero, the most amoebic and uncompromising launchpad for what would become the Royal Trux sound. Highlights include the Henry Flynt-esque 'Ice Cream', the cavernous flute peals of 'Osiris' and the rollicking, fuzz-damaged 'Glitterbust'. One of the best from one of the best!

Review: The Durutti Column prove just how fertile the North West England music scene was during the mid-late-1970s and through the 1980s. Taking their name from an anarchist military movement active during the Spanish Civil War, the band was formed by Vini Reilly, who brought together a bunch of players from the nascent punk and post punk scene, and managed to turn heads in the process. One of which was Tony Wilson. One of the first acts to sign to his now-legendary Factory Records, they would remain on the imprint until its demise, by which time the project had become a solo thing for Reilly, whose name was already shorthand for risk taking with bold ideas. Take this record, for example, veering from Southern Mediterranean folk to experimental indie, sample-based rock-opera and more, it still defies expectations.

Review: Pretenders' iconic album Learning To Crawl gets a crystal clear vinyl reissue here to commemorate its 40th anniversary. Retaining the original 1984 artwork and tracklist, this reissue boasts 2018 remastered audio by producer Chris Thomas which arrives on wax for the first time. Following a band hiatus marred by the tragic losses of guitarist James Honeyman-Scott and bassist Pete Farndon, the album features various musicians before Robbie McIntosh and Malcolm Foster joined to solidify the lineup. Achieving Gold and Platinum status in the UK and US, the album peaked at #11 in the UK and #5 on the Billboard 200 and includes beloved tracks like '2000 Miles' and 'Back on the Chain Gang'.

Review: Lizzy McAlpine's third studio album, Older, is a poignant and emotionally charged collection of fourteen tracks that showcase her remarkable talent as a songwriter and vocalist. Delving into themes of love, loss, and the complexities of growing older, McAlpine's heartfelt lyrics and captivating vocals resonate deeply with listeners. The album opens with the enchanting 'The Elevator,' setting the tone for what's to come with its harmonious melodies and introspective lyrics. From there, McAlpine navigates through the highs and lows of relationships in tracks like 'Come Down Soon' and 'Like It Tends To Do,' where she grapples with insecurity and uncertainty. Throughout Older, McAlpine's songwriting prowess shines as she candidly explores her personal experiences, including the death of her father and her own struggles with mental health. Tracks like 'All Falls Down' and 'March' offer poignant reflections on grief and resilience, while 'Vortex' delivers a powerful climax with its haunting vocals and stirring instrumentation. With each track, McAlpine expertly crafts a sonic landscape that draws listeners in, weaving together lush instrumentals with her emotive voice. From the tender piano chords to the soaring violins, every element of Older feels purposeful and deeply evocative.

Review: This multi-volume series captures various different parts of one of the many seminal gigs that UK indie sad-sacks The Cure played around the world. In particular, this captures the action from a legendary night in Leipzig, Germany. Much like the first two volumes, the third is a brilliantly well received album that is alive with energy and the rawness of the gig but never at the expense of any of the frets of melodies. From 'In Your House' to original classics like '10:15 Saturday Night' and the enduring favourite 'Boys Don't Cry', this is a great record of a great band in great form.

Review: Formed in London in the mid-2000s, White Lies' music defies easy categorisation, blending elements of indie rock, post-punk and electronic sounds. Fronted by lead vocalist and guitarist Harry McVeigh, the band has garnered acclaim for their atmospheric soundscapes and introspective lyrics. Big TV marks White Lies' third studio album, featuring the bands strong evolution while staying true to their signature sound. The concept album narrative adds depth, with tracks like 'First Time Caller' and 'Getting Even' displaying bolder, more innovative approaches. There are well-placed pace changers like 'Space I' and 'Change' that offer atmospheric respites. Overall, Big TV is a successful album, demonstrating White Lies' growth as seasoned veterans in the music industry.

Review: The Jesus And Mary Chain mark 40 years of music-making with a new album recorded at Mogwai's Castle of Doom studio in Glasgow. That's where their last album, 2017's 'Damage and Joy', was recorded and it went on to be their highest charting record in more than two decades. With this one they again embrace a new sound that builds on their usual mix of melody, feedback and controlled chaos with sounds inspired by their love of Suicide and Kraftwerk as well as 'a fresh appreciation of the less disciplined attitudes found in jazz.'

Review: Recorded between Oxford and Abbey Road, The Smile (Thom Yorke and Jonny Greenwood of Radiohead, and Tom Skinner of Sons Of Kemet) is the second full-length LP by the fantasy troupe, following up 2022's A Light For Attracting Attention. On first announcement, speculation abounded that it was tangentially related to Radiohead's 2011 album The King Of Limbs, since the phrase "wall of eyes" appeared in its promo material - though this album is decidedly different in sound and centres in on themes such as the isolation of fame and Kaufman-esque surrealisms.