Back catalogue: Indie/Alternative

Review: The Lightning Seeds' 1999 album Tilt signaled a departure from their cheery indie-pop origins, embracing a more electronic vibe and delving into deeper lyrical themes. Collaborating with talents like Terry Hall, Stephen Jones, and Mike Pickering, and under the production guidance of Simon Rogers (with Tim Simenon overseeing "Get It Right"), the album unveils a shift towards a somber, introspective musical landscape. Despite garnering acclaim for its bold experimentation, especially evident on singles such as 'Life's Too Short' and 'Sweetest Soul Sensations', "Tilt" faced commercial challenges, prompting Ian Broudie to put the band on hiatus thereafter. This record captures a pivotal moment for The Lightning Seeds, navigating uncharted musical waters while staying true to their knack for crafting resonant melodies and thought-provoking compositions that resonate deeply with listeners.

Review: The Lightning Seeds' Dizzy Heights is a shining example of mid-90s Brit-pop brilliance. Led by the talented Ian Broudie, known for his production work with Echo & The Bunnymen, this album beautifully blends light pop-rock with majestic acoustics and New Order/Pet Shop Boys-esque keyboards. While the music exudes a happy and upbeat vibe, Broudie's lyrics reveal a deeper, more introspective side. Songs like 'Touch And Go' and 'Imaginary Friends' explore themes of friendship and loneliness, adding layers of emotional depth. The track 'Waiting For Today To Happen,' co-written by Nicky Wire of the Manic Street Preachers, is a poignant piece likely influenced by the disappearance of Richey Edwards. The cover of 'You Showed Me' is both chilling and sexy, offering a fresh take on a classic song. Despite a consistent sound throughout the album, each track brings its unique charm. Dizzy Heights is perfect for those moments when you want elegant pop music that resonates emotionally. While it might not revolutionize the genre, its sheer listenability and thoughtful composition make it a standout in any music collection.

Review: Cloudcuckooland, the 1990 debut by The Lightning Seeds, is a delightful exploration of nerd-pop, infused with whimsical and earnest lyricism. Spearheaded by Ian Broudie, the album features 12 tracks that blend imaginative daydreams with Casio presets, creating a twee, sentimental atmosphere. The standout track, 'Pure,' achieved significant success, charting in both the UK Top 20 and the US Billboard Top 40. Its gentle strumming, synth arpeggios, and Broudie's evocative lyrics evoke a sense of innocent love. The follow-up single, 'All I Want,' continues this trend with its protective, poetic tone and toy harpsichord melodies. While some tracks, like 'Control the Flame' and 'Bound in a Nutshell,' experiment with genre to unique results, others, such as 'Joy' and 'Frenzy,' offer catchy synth-pop moments. Though not as danceable as contemporaries, Cloudcuckooland remains charming for its dainty sentiments and hopeful suitor's perspective, making it a timeless piece of twee pop.

Review: With their almost-sickly sweet vocals and incredibly catchy riffs, it's safe to say The Lighting Seeds were pop personified for a while - and this, their second studio album and a follow up to the acclaimed Cloudcuckooland, was right at the height of that period. One listen to opener and title track, 'Sense', should be enough to invoke memories of a bygone era in music, at least in those who were actually there, while the follow up, 'Life Of Riley', will bring back more vivid recollections thanks to that gold-standard guitar hook. Listening to this simply as a retro or nostalgic exercise isn't really fair, though. Framing Sense as a record worthy of reappraisal reveals a lot about what really captured attention and imagination at the time. These background details that add depth and resonance to otherwise relatively light arrangements betray Iain Broudie's storied track record as a studio producer.

Review: "This could stand a little more bite," The Chicago Tribune wrote of Cloudcuckooland back in 1990. Suffice to say, Greg Kot hadn't listened to enough by The Lighting Seeds before penning his thoughts on their debut album. As we all know, the Liverpudlian combination of Ian Broudie and Original Mirrors never really had much bite, and instead preferred to float on the wave of sweet and often soft indie pop. Nevertheless, despite the lack of weight and heft, The Lightning Seeds did make a big impact back in the day, with this, their debut album, even managing to bag a spot in the US Top 40. Listening to it now, Broudie's enviable credentials as a producer for the likes of Echo & The Bunnymen, Wall of Voodoo, and the Fall are more than audible in the pitch perfect polish, each tracks boasting that infectious, singalong quality.

Review: The Welsh rock icons' first new studio album since 2021's The Ultra Vivid Lament Door To The River and - remarkably - their 15th studio album. Recorded at their studio in Newport and the legendary Rockfield Studios in Monmouth, produced by regular collaborators Dave Eringa and Loz Williams and mixed by Caesar Edmunds (Beach House/Suede/Wet Leg), the album captures Manics in their melodic prime. James Dean Bradfield's voice is one of the treasures of modern rock - somehow sounding as fresh and powerful as it did in the 90s. On the single 'Decline & Fall' you can hear the immediacy and synths and guitar sounds coming together like a fireworks display celebrating the opening of a new chapter. We even get, if not quite a diss track then certainly a retort song, to a certain Mr Morrissey in the shape of 'Dear Stephen', in which Nicky Wire concocts an imagined belated reply to a postcard he genuinely received from the Smiths singer back in the 80s. The Manics don't have anything to prove at this stage of their career, but the fact they keep knocking it out of the park is astounding. Long may they keep finding this type of form.

Review: This 15th album from The Manic Street Preachers sits snuggly with all the bands' previous releases. Hints of irony, at times it's anthemic, euphoric, one that's difficult to put down and a collection of music that offers hope and belief yet again that the world can and will become a better place. It's an album bookended by songs with Nicky Wire on lead vocals. On opening (title) track 'Critical Thinking' he tells us "It's OK to not be OK!" and to believe in ourselves. 'Decline and Fall' that follows could be one of the best songs the band have written for years. It reminds us of everything we've always demanded from the band, a rousing chorus ready for airing in large arena's (as do many of the songs on this album) and for a selection of music that may have started a little slowly, 'Brushstrokes of Reunion' continues the comforting audio experience these fifty somethings remain capable of providing after over three decades of their existence. This again boasts another infectious chorus you want to be singing long to after just a single listen. Then we're back with Nicky Wire singing on 'Hiding in Plain Sight', his best vocal performance on the album and 'Dear Stephen', a heartfelt message to Morrissey (but one 'with no moral judgement' according to the writer) inspired by a postcard sent from Morrissey in the early 1980's. The following track 'Being Baptised' boasts a guitar sounding not a million miles away from one Johnie Marr would have put his name to. The second half mirrors the first half dozen songs. 'My Brave Friend' and 'Out Of Time' Revival are certainly songs worthy of being a singles, 'Deleted Scenes' is another arena ready anthem and Late Day Peaks recognisers a decline in the creative industry ("So move indoors, be happy to hide, avert your gaze as the cinemas die") - All vintage Manics material that is just as identifiable as everything the band have provided us with in the past. Final track 'OneManMilitia' is a collection of soundbites that could easily have sat comfortably on Generation Terrorists. It's a great way to wrap up the album. Critical Thinking is an album you won't want to put down after first listen, it's the next chapter of the Manic's story, one that still doesn't feel as though it's about to end and there's nothing on this album gives you the feeling they're not ready to let anyone down just yet.

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: Modest Mouse's Good News for People Who Love Bad News marks its 20th anniversary with a reissue, offering fans a chance to rediscover the album's enduring brilliance. Originally praised for its unique fusion of rock, folk, and indie sensibilities, the album remains a standout in the band's discography. Featuring remixes from Poolside, Justin Raisen, MGMT's Andrew VanWyngarden, and others, the expanded digital edition breathes new life into familiar tracks. Meanwhile, the vinyl reissue comes with a new eight-page booklet, adding depth to the listening experience. Good News showcases Modest Mouse's ability to craft anthemic yet introspective songs, as demonstrated by the timeless appeal of tracks like 'Float On' and 'Ocean Breathes Salty.' Despite lineup changes and the pressure to follow up their acclaimed predecessor, The Moon & Antarctica, the band delivers a cohesive and captivating album that stands the test of time. While some tracks may falter in comparison to the album's highlights, This reissue is a reminder of the band's enduring influence and their ability to consistently push the boundaries of their sound.

Review: Back in 2019, American power-pop trio Muna swept in to save the day with their second studio album, Saves The World. In contrast to 2017's About U, their sophomore effort is more of a universal appeal to recovery than valentines' letter, dealing in themes of addiction, alienation, romantic desolation and cycles of abusive behaviour. Sonically, the palette is weird, dreamy and bright, working in Goldfrappy gated snares and stabs to candid pop and trap progressions. A beautifully glossy, clean but still left-of-field, uncanny record.

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


Prefab Sprout's Jordan: The Comeback stands as their most ambitious work, now reissued on stunning translucent blue and red vinyl. This expansive double LP, produced by Thomas Dolby, is divided into four thematic movements, blending pop, samba, and Steely Dan-esque sophistication. Tracks like 'Wild Horses', 'We Let the Stars Go', and 'Looking for Atlantis' showcase Paddy McAloon's mastery of both melody and lyrical depth. The album explores wide-ranging themesifrom the myth of Elvis Presley's resurrection to the complexities of love, heartbreak, and spiritual redemption. The Elvis suite is a highlight, filled with symbolic references to his life and legacy. Ending on a redemptive note with 'Doo Wop in Harlem', Jordan takes listeners on a journey through McAloon's introspective world. This vibrant reissue only enhances its legendary status.

Review: Prefab Sprout's Jordan: The Comeback stands as their most ambitious work, now reissued on stunning translucent blue and red vinyl. This expansive double LP, produced by Thomas Dolby, is divided into four thematic movements, blending pop, samba, and Steely Dan-esque sophistication. Tracks like 'Wild Horses', 'We Let the Stars Go', and 'Looking for Atlantis' showcase Paddy McAloon's mastery of both melody and lyrical depth. The album explores wide-ranging themesifrom the myth of Elvis Presley's resurrection to the complexities of love, heartbreak, and spiritual redemption. The Elvis suite is a highlight, filled with symbolic references to his life and legacy. Ending on a redemptive note with 'Doo Wop in Harlem', Jordan takes listeners on a journey through McAloon's introspective world. This vibrant reissue only enhances its legendary status.

Review: Rag'n'Bone Man, born Rory Charles Graham, is "embracing joy and balance in his life" as he releases his new album What Do You Believe In?. Known for his gravelly blues vocals, the British singer gained global recognition with his 2016 debut Human, which went platinum four times in the UK and multi-platinum in 27 other countries. Now, supported by family and newfound confidence, Rag'n'Bone Man's latest work blends personal growth with vibrant hooks and takes fans on an uplifting musical journey with title track setting the tone in superb fashion.

Review: It's vital that the uninitiated understand one thing about 21-year-old Alexander O'Connor - his infectious and well crafted pop tunes are almost destined to bore a hole into your brain and stay there for quite some time. Like Michael Buble meeting Ed Sheeran at someone's Macmillan Coffee Morning. If that sounds even vaguely off-putting then this one clearly isn't aimed at you. But it is aimed at those who appreciate artists that can switch between a kind of Grammar school rap delivery, croonerdom and uptempo boy band business. From the piano and vocal R&B number "Pluto Projector", to the chart-friendly freight train of "Never Had The Balls" and the light acoustic guitar soul effort "Stressed Out", O'Connor's third studio album "Pony" is an incredibly sweet introduction to an artist who's clearly packing plenty of talent.

Review: In its time, which spans 16 years from the mid-1980s to the turn of the Millennium, Creation Records was incapable of misfiring. From Boo Radleys and Guided By Voices, The Jesus & Mary Chain to Bob Mould, Ride, Kevin Rowland, Teenage Fanclub and Super Furry Animals. Let alone Primal Scream. Renowned for a multitude of genres, but particularly shoegaze, suffice to say Slowdive, England's dream pop doyens, delivered some of the label's most seminal work. Souvlaki is a prime example. Although it narrowly missed a spot in the UK's Top 50 Albums Chart, peaking at 51 in 1993, retrospective attention has heralded this not just as a shoegaze classic, but also a true landmark of late-20th Century British music. "Quiet, moving, and aggressive simultaneously, mixing trance-like beauty with the deepest delayed guitar sounds around," Pitchfork once said. Now, if you've more to add, speak up.

Review: We have been quietly wondering when the dance music backlash will begin and popular trends will turn back to guitar music, and maybe a reissue of this classic album from The Strokes will provide the catalyst. It was one of three early albums from the band that made for an unreal run of records and it still sounds mega all these years later. The critically acclaimed, gold-certified First Impressions Of Earth was first released back in 2005 and debuted right in the top spot of the UK album charts. It packs a punch with hit singles like hit singles 'Juicebox,' 'Heart in a Cage' and 'You Only Live Once' all proving plenty of singalong joys.

Review: The Strokes's Comedown Machine is often said by fans to be one of the most consistent albums of the much loved band's career. It showed off once again their immaculate knack for irresistible hooks and catchy grooves, all of which had been present over four previous albums but perfected on another level here. Alongside the group's signature sounds are thought-provoking, strange and sexy themes. It wasn't promoted hard but the album still hit the Top 10 of the UK charts and the same over in the US. This limited edition reissue arrives on a lovely limited yellow and red marbled slab of wax.

Review: We all know that The Strokes' initial three album run of Is This Is It, Room On Fire and First Impressions Of Earth is the high watermark for their entire back catalogue. But that isn't to detract from their more latter day output, with 2011's Angles amassing a sincere cult following in the years since. Boasting one of their biggest singles to date, 'Under Cover Of Darkness', while showcasing the member's desire to begin toying with the sonic expectations from a band so tightly bound to their garage rock revival roots; deep cuts such as the watery synth-laden opener 'Machu Picchu', would take full advantage of their foray into MIDI electronics, subtly revitalising their formula in a manner many have only just begun to learn to appreciate in earnest.

Review: It's hard to believe The Strokes' debut album is 20 years old in 2023. Of course, it sounds very much like the band did at that time, with reviews upon release even celebrating the fact that they'd opted not to mess about with a musical formula that won legions of fans on their debut, Is This It. High speed, turbulent, angsty rock 'n' roll music that isn't just youthful, it's completely disinterested in growing up. Of course, this might be taken to mean a lack of new ideas, but that's precisely where the genius really shines through. Room On Fire is less a band regurgitating and getting 'found out', and more proof of a singular vision of what a guitar band should actually sound like. Really very loud, not at all comprising, and while comparable to many, entirely The Strokes.

Review: When Scottish alternative rock heroes Teenage Fanclub first dropped this, their third full length outing, it was something of a milestone. Arriving via the world famous and universally (well, we think so anyway) revered label Creation Records certainly never does anyone any harm, but in this case all the stars aligned in such way to offer the band what every British guitar act aims for - US success.

American tastemaker title Spin magazine even crowned it Album of the Year for 1991, a sure sign of its impact over the other side of the Atlantic. Whether you'd agree with that accolade or not, it's a classic example of jangle-noise-power pop indie that really helped define what those words actually mean for at least two generations to come. A landmark release.

Review: It's hard to believe it is now a full decade since Detroit's Dez Andres blew up off the back of his classic house jam 'New For U.' He had of course been toiling away for years before that, recording with Moodyman and DJing for Slum Village amongst other things. Since then the music has kept coming - some of it hip-hop as DJ Dez, some of it house under this alias, and much of it a perfect fusion of the two. And that's what we get here on this new EP for Beretta Music - four lush deep house joints with his smooth signature drum loops and gloriously incidental melodies. The slower, funkier bounce of 'Back To Nature' is the EP highlight for us, but all four of these are a cut above, as per usual with Dez.

Review: The fifth studio album from New York's perenelially preppy masters of the catchy indie anthem sounds like a tantalising mix of trademark qualities and an ever widening eclecticism, not to mention lyrical concerns that mirror the big scale traumas and worries of American life through the minutiae of interpersonal relations. The title itself comes, appparently, from an eyewitness account of a plane that lost its roof mid flight - add your own geopolitical metaphor here. But in short, there'll be a few surprises but VW fans everywhere will also get a serious dollop of what they've been waiting for for almost five years.

Review: Women In Revolt! is a first of its kind exhibition that has been assembled to showcase the work of over 100 women artists who were active and working in the UK back throughout the 1970s and 80s. The exhibition has been put togther to explore how the women of those times changed the mood and direction of British culture then and forever more with their radical ideas and rebellious methods in the fields of music, painting, sculpture, photography, film, and performance. They helped to liberate women and this collection of punk and hardcore has been put together to reveal further layers of depth to this great cultural shift.

Review: It's never easy to have a huge breakthrough single and then keep the momentum. But Tom Walker, who shot to massive fame and acclaim through the 2018 hit 'Leave A Light On', seems to have managed it pretty well considering he's gone five years between first record, What A Time To Be Alive, and the September 2024 follow-up, I Am. That's an age in modern music's relentless march and production line gutter ethics. I Am is certainly a case of picking up where things left off on the last long form. The track list is a mixture of hyper emotional main stage acoustic-electronic pop balladry, and quiet piano-vocal solos seemingly poised over your bleeding body, ready to cut heartstrings with a love letter from the loss of your life. Elsewhere, EDM and hip hop-hued uptempo numbers make a similarly big impression. Comparisons to Ed Sheeran still ring true, then, but that's not to say there's nothing new happening here.