Review: Pink Elephant is Arcade Fire's first album since 2022's We, and it serves as a compact and cathartic return that is defined by its sense of reflection and emotional recalibration. It has been co-produced by Daniel Lanois and leans into intimate textures and moving drums with standout tracks like 'Year of the Snake' and 'Ride or Die', evoking both earnest self-examination and communal uplift. Elsewhere, there is the hypnotic 'Circle of Trust' and haunting title track, which showcase the band's ability to mix grandeur with vulnerability and means that this is a work that again cements Arcade Fire's reputation as one of indie's finest.
Review: Canadian rock outfit Big Wreck celebrates this year's Record Store Day with the first-ever vinyl release of their acclaimed Albatross album. This deluxe anniversary edition includes a bonus track, 'Fade Away', as well as alternate versions by Eric Ratz and Ian Thornley, plus a live recording from Suhr Guitar Factory. The original album came back in 2012 and saw Albatross earn chart-topping success and critical praise for its soaring guitar work and powerful vocals. They make just as much of a mark now, more than a decade on and with the addition of the new cuts, this reissue brings all new depth to the record.
Review: The original album artwork, designed by Tony Hung, features an ice cream in neon lights against a black background. For this special edition, Hung has reimagined the design, adding gold foil and embossed details. It's a beautiful reworking that goes well with the gold disc and shows a deeper connection to the music. The audio has been spruced up using a technique that is the holy grail of vinyl cutting. And in terms of the music, you might consider the tracks more deep cuts as they don't tend to decorate their live sets. But that ought to change as there's moments of pure genius. To name a couple: 'Lonesome Street' could have made any of Bowie's albums. And 'There Are Too Many of Us' sees Albarn dabble in Roger Waters-esque observations beautifully. Time has been very kind to The Magic Whip as it's aging really well.
Review: Longtime Matador records signee and frontman with Leesburg, Virginia's Car Seat Headrest outfit, Will Toldedo is fortunate to have spent the bulk of his adult life releasing records and is a true artist and craftsman. The lead single 'The Catastrophe' is a massive sounding indie number that nods to the adrenaline of noughties indie and the intensity of prog and punk. 'CCF (I'm Gonna Stay With You)' shows a more experimental side with the bonkers first part giving way to heartland rock that Bruce Springsteen would be proud to call his own. This is - remarkably - the 13th studio album by this band, which make it close to an album a year since their formation. The wind is truly in their sails here and the chances of their prolific output slowing anytime soon are thankfully very slim.
Review: It's no wonder there's a nu-gaze movement bubbling up at the moment and showing no sign of dying down - the quality of the godfathers of the genre is just staggering. And you can count Chapterhouse as a key component of the transcendental and viscerally thrilling first wave of shoegaze. This collection features four songs that the Reading-based band recorded in January 1989 - including one that has never been released before. The track in question, 'See That Girl', is as good as any of the more direct songs that bands in their scene released in the 90s. It's their equivalent of Ride's 'Vapour Trail' and strong enough in and of itself to warrant getting the whole EP.
Review: Marking its 40th anniversary with a special new remaster, The Colour Field's seminal Virgins and Philistines by returns and shows a whole new generation why the band's sophisticated blend of new wave, pop, and introspective songwriting made such a mark, Originally released in 1985 and fronted by former Specials and Fun Boy Three vocalist Terry Hall, the album features standout tracks like the UK Top 20 hit 'Thinking of You', which alongside the rest of the originals have been taken from the original tape. However this edition also includes a bonus disc with early singles and B-sides appearing on vinyl for the first time making it a must-cop for '80s alternative pop fans.
Review: Counting Crows' sequent 2021's Butter Miracle: Suite One with The Complete Sweets! Now expanding on the themes of its predecessor, the record hears all four tracks from Suite One alongside five new songs, blending this heartsick Berkeley, CA band's signature storytelling with sweeping melodies and raw emotion. Leading the charge is 'Spaceman In Tulsa', a striking single that not only marks their first new music in nearly five years, but appropriately concerns itself with the theme of metamorphosis - "the way music breaks down who we were and spins us into something new. It's about broken lives becoming something better," in the words of frontman Adam Duritz. The record coincides with a fresh tour kicking off in Nashville in Spring 2025, with stops across North America and Europe.
Review: This album, originally released in 1989, and now expanded for a deluxe edition, is god-tier stuff from The Cure. The 'Pictures Of You' melody is emotional enough to draw tears from those with stone hearts. And similarly to many of the tracks on this album, 'Lovesong' still forms a really important part of their live set as there's beautiful interplay between keys and bass, whilst Robert Smith's heartfelt poetry is filled with conviction. In terms of album openers they don't come much stronger than 'Plainsong', which is a melancholic, dark synthgaze-y masterpiece that will stop you in your tracks whatever you're doing.
Review: Angus from Australian indie folksters Angus and Julia Stone has an unearthly beauty to his voice so we're always partial to checking out what he's turned his hand to. This is his fifth studio album under his moniker Dope Lemon and it follows his acclaimed 2023 album, Kimosabe. There's certainly an axis between 'Golden Wolf' and some of the early Angus and Julia Stone, but with more of a Killers-esque rock engine to it. Elsewhere, 'Electric Green Lambo' takes us on a detour through some funky, soulful grooves that would suit blazing a cigar in the Havana sun. And the sleek 'Sugarcat' has the strongest beat of the set and it's a guaranteed mood bump every time you hear it.
Review: Let's face it, The Futureheads are at their very best when utilising choir-style vocal arrangements. This was arguably first made clear when they dared to drop that incredible cover of 'Hounds of Love' - treading where very, very few people have braved, into the world of enigmatic wonder-artist Kate Bush, and coming out with something that stood up on its own as a wonderfully unique cover. If you agree, this one's for you. Online blurbs will tell you Rant is a diversion from the usual Futureheads stuff. And yeah, maybe it is to some extent - this is an a cappella album after all. No guitars. No drums. No instruments other than the band's own voices. It also uses traditional folk as the main source material, with some pop and dance thrown in. Nevertheless, if you can't immediately identify this as the Sunderland group, and hook into the clear rhythmic signatures that would identify this as them, even without the voices, you've not been listening hard enough. A triumph of auteur theory in music.
Review: Originally released in 1981 via Bronze Records, Hit & Run would serve as the sophomore full-length from London's Girlschool. Reaching No. 5 in the UK Albums Chart with the title-track charting at No. 32 in the UK singles, the album was the band's biggest success, even landing them an obligatory mime performance on Top Of the Pops. Returning to London's Jackson's Studios to work with producer Vic Maile, who handled desk duties on their 1980 debut Demolition, the project saw the group ramp up their speed and melody, ultimately cementing their place as somewhat retrospectively overlooked pioneers of the New Wave of British Heavy Metal (NWBHM). Reissued or rather "revisited" for Record Store Day 2025, this lush, limited red wax pressing features cuts such as the iconic opening banger 'C'mon Let's Go', which appeared in the Gemini Award winning 2005 documentary Metal: A Headbanger's Journey, as well as their much adored rendition of ZZ Top's 'Tush'.
Review: Seattle-raised, New York-based singer and pianist Eliana Glass releases one of the most arresting debuts of the year, finding her own nuanced style after years training as a jazz vocalist and being in steeped in records by Nina Simone. Glass' love of more indie influences, such the ethereal Elizabeth Fraser of the Cocteau Twins means she fuses technical excellence with a more emotional led timbre that, in turn, brings you closer to her soul. 'On The Way Down' is a great place to start as it's a stunning marriage of piano and vocal but when she just plays piano the hairs stand on the back of your neck, too. Check out 'Song for Emahoy' and try not to cry.
Review: Once synonymous with bands such as The Lemonheads, Some Girls, and Blake Babies, Boston, USA singer-songwriter Juliana Hatfield has been there and done that as part of a group, with her own Juliana Hatfield Three setup, alongside Todd Philips and Dean Fisher, and in full-blown solo mode. And she continues to 'do it' very well indeed - How To Walk Away might be 17 years young in 2025, but her most recent original offerings, on 2021's Blood, proved there's no shortage of ideas still. As for How To Walk Away, this is Hatfield in her element. Emotional alternative rock in that way America has defined for the best part of four decades - left of centre yet accessible and destined for charts and soundtracks alike.
Review: Talk about appropriate names. There's something about Helen Island that sounds as though it has been cast adrift, washed up, and left to establish its own thing. The Parisian enigma's work feels ghostly, haunted by a past that has vanished into the ocean mist. Whether they'll ever be reunited is the real question, but mystery is the joy here. Whether it's at the uptempo, synth pop hued 'Hot Zone Regular Day', or the weird and wonderful psyche-electronica-field style 'Forever Starts Today', breathy samples on 'Indivisibl' or the innocent contemporary classical-cum-ambient plucked strings and keys of 'Restless Lovers' and 'Gore Lore', the whole thing is a strange and beguiling ride through the outer reaches of popular music.
We're Rolling, It's 1985 Studio Dialogue (CD2: demos & outtakes)
Funk Song #11 Take 2/Working Title Of What You Need (Alternate Take)
Press The Blue & Red Button Studio Dialogue
Kiss The Dirt (Studio demo)
Meaning Of The Song Listen Like Thieves - Interview Excerpt
Listen Like Thieves (Studio demo)
INXS SA FM Radio Spot
One X One (Studio demo)
This Time (Studio demo)
Shine Like It Does (Studio demo)
Good & Bad Times (alternate take)
Red Red Sun (Studio Jam)
Red Red Sun (alternate take)
Recording Of Same Direction
Funk Song #9
What You Need (Studio demo)
Shine Like It Does (Home demo)
Listen Like Thieves (Home demo)
Kiss The Dirt (Home demo)
Introduction By Pete Drummond (CD3: live From Royal Albert Hall - 24th June, 1986)
Same Direction
Soul Mistake
Kiss The Dirt
Biting Bullets
Burn For You
Do Wot You Do
Original Sin
Different World
Shine Like It Does
Listen Like Thieves
One X One
What You Need
Red Red Sun
Review: INXS have gone all in and hired the best in the business to provide a brand new stereo mix of their 1985 Listen Like Thieves album, namely Giles Martin and Paul Hicks, who have been remixing and remastering the Beatles back catalogue together. Ill content to let a better sounding album be enough of a package, the Australian 80s icons add previously unreleased sessions tracks, outtakes, demos and a live recording the BBC did at the Royal Albert Hall in 1986. Of the tunes on here, 'This Time' has a U2-esque stadium-filling atmosphere that is undeniably empowering. But it's also great hearing another, more stripped back side to the new wave icons and 'Kiss The Dirt' is a great place to start with this - you can hear a work in progress and let your imagination can fill in the gaps.
Review: Experience the white knuckle energy of the band's early U.S. tour at the legendary punk club, with a mix of tracks from their 1977 debut In the City and their second album - also released '77 - This Is the Modern World. Technically named the Rathskiller, the Boston venue was nicknamed The Rat and built a reputation as a basement dive bar that has hosted acts that have gone on to be the biggest names in rock. The Jam are a case in point and on red hot form here with the Paul Weller-led band thrashing through the likes of 'Carnaby Street', 'In The City' and 'All Around The World' in an unpolished, ramshackle and intimate way that the studio albums can't conjure.
Atmosphere (live At The Factory, Hulme, UK, September 28, 1979) (2:22)
Wilderness (live At The Factory, Hulme, UK, September 28, 1979) (3:00)
Shadowplay (live At The Factory, Hulme, UK, September 28, 1979) (3:53)
Insight (live At The Factory, Hulme, UK, September 28, 1979) (4:06)
Colony (live At The Factory, Hulme, UK, September 28, 1979) (4:06)
Review: Famed for having hosted the likes of Hendrix and The Stones, the Moonlight Club in the basement of the vintage Hampstead pub The Railway, was a ram-packed sweaty room and a fantastic place to have seen Joy Division live. The Ian Curtis-fronted Macclesfield post-punk legends played three nights on the trot here and the setlist is the stuff of legends, nicely meandering through the best tracks from their Closer, Still, Unknown Pleasures albums and beyond. Side 2 includes a run of tracks that they recorded in the briefly opened and since demolished Factory live venue in Moss Side, Manchester, bringing you back to a time when the city was in its monochromatic prime..
Review: Before Oasis reformed, Noel and Liam were operating on two very different realms. Liam insisting that the wheel isn't broken so doesn't need to be changed, while Noel was all for changing the wheel and experimenting in the studio. He famously wound up the Oasis fanbase over the fact he had a scissors player in the High Flying Birds. Now, we're treated to said scissor player's brilliant solo album and Noel is a featured artist on the song 'Two-Love' - he plays bass and piano. It's a brilliant piece of baroque art pop that's playful and eccentric. Fully deserving of being signed to the esteemed Stereolab's Duophonic label, Le Volume Courbe, aka Charlotte Marionneau, is a sheer delight. Let's just hope there's more music to come soon as the album before this was in 2015.
Review: New Zealand collective Leisure collides many different musical worlds on their genre-blurring sophomore album, genre-blurring. Soul, r&b, rock and pop all get taken in and worked into a lush sound defined by its experimental energy. There are several standout tracks like 'Money' and 'Feeling Free' that showcase their signature sun-soaked vocals and smooth grooves. Elsewhere, Twister brings a bold, modern take on funk, which has won over both fans and critics with 'On My Mind' a prime example of their boundless creativity and knack for warm textures and adventurous spirit. As such, it's a record that cements the group's place as contemporary innovators.
Review: Miami-born and raised, synth-pop duo Magdalena Bay relocated to Los Angeles and have been blazing a trail with their self-produced music towards the top of the pop world. To celebrate the beguiling aura of their second album, released in August 2024, there's a limited repress of it in a stunning yet chaotic and artsy clear blue. Stacked with bangers, including the ethereal disco single 'Image' and the cosmic electropop epic 'Death & Romance' - which recalls Destiny's Child as much as it does Jean Michel Jarre - Magdalena Bay are clearly brimming with ideas. That they then know how to package these ideas with a cohesive visual aesthetic helps them hugely on their way and at the pace they're going creatively, there's seemingly a glorious road ahead.
Review: Welsh noise-rock royalty Mclusky make their decrepit return on their majorly anticipated fourth album The World Is Still Here & So Are We, marking their first full-length in over two decades, following on from 2004's The Difference Between Me & You Is That I'm Not On Fire. While the Cardiff legends have reformed for brief reunion runs in the past, this time they seriously mean it, revealing their first taste of new material in 19 years through their 2023 EP Unpopular Parts Of A Pig, with the title-track and 'The Digger You Deep' both announced to be featured on their (at the time) as-of-yet unannounced comeback record. Arriving courtesy of Ipecac Recordings, the outsider-rock label ran by vocal absurdist Mike Patton (Faith No More, Tomahawk, Mr. Bungle) and working in the past with the late, great Steve Albini, with the band even supporting for Shellac one fateful night in London's Scala, the chaotic noise-merchants haven't lost one tooth of their bite or snarky cynicism during their long respite, made abundantly clear on blistering lead single 'Way Of The Exploding Dickhead'.
Review: Cardiff noise-rock legends Mclusky make their long-awaited return with the highly anticipated The World Is Still Here & So Are We. Serving as their fourth full-length and first since 2004's The Difference Between Me & You Is That I'm Not On Fire, the album comes following numerous sparse reunion shows and tours since their initial disbandment two decades prior. First revealed through the release of the Unpopular Parts Of A Pig EP during the latter half of 2023, which would mark their first newly recorded output in 19 years, both the title-track as well as 'The Digger You Deep' were said to be the first tastes of their fourth LP, now making good on that promise with a release set for distribution via Ipecac Recordings, the label of musical absurdist Mike Patton (Faith No More, Mr. Bungle). Having worked in the past with the late, great Steve Albini, even opening for Shellac one fateful evening in London's Scala, the iconic noise-merchants seemingly haven't lost an iota of their bite or shitheaded cynicism during their time away, evidenced as such as in the blistering lead single 'Way Of The Exploding Dickhead'.
Review: Brooklyn-based Model/Actriz, a four-piece rock band formed in 2016, return with an electrifying new chapter in their career. Frontman Cole Haden, guitarist Jack Wetmore, bassist Aaron Shapiro, and drummer Ruben Radlauer have forged a sound that merges post-punk aggression with noise rock's raw energy. Their latest release is a visceral, direct exploration of both the visceral chaos of their live shows and the darker, more introspective side of their sound. After their debut album Dogsbody earned critical acclaim in 2023, they've recalibrated their approach, opting for a more stripped-down and immediate experience. Tracks like 'Cinderella' and 'Acid Rain' charge forward with the kind of club-ready energy that makes their performances unforgettable, while 'Doves' and 'Audience' offer hauntingly introspective moments. Model/Actriz's commitment to blending queer themes with explosive music continues, pushing boundaries in both their lyrics and sound.
Review: Origin of Symmetry is still the most cherished Muse album by most fans and this live performance of their festival set at Bizarre Festival in Germany captures the Devon rock trio playing songs from it before it was released. The singles 'Plug In Baby' and 'New Born' are on here, as are their debut album Showbiz's best songs 'Muscle Museum' and 'Sunburn. It's truly a mouth watering setlist that makes it understandable how they went from the moderately sized band they were then to one of the biggest bands in the world.
Review: Frightened Rabbit's singer and chief songwriter Scott Hutchison devastatingly passed away in 2017 aged only 36. He's left behind an incredible oeuvre including this debut and sole solo album under the moniker Owl John. Hutchison as a lyricist had a warts and all approach, poetically delving into depressing subject matter in a spellbinding, artful way. The track 'Hate Music' is a case in point, his loathing of the record release cycle is conveyed with biblical imagery and brutal honesty. The cinematic polish of Frightened Rabbit is toned down in favour of a distinctive, more experimental aesthetic that resonates deeply..
Review: This expanded edition of Pale Saints' third and final album Slow Buildings is a real doozy for fans of the English alt-rock and shoegaze outfit. The original is a long-out-of-print classic that has been sympathetically remastered here after originally arriving back in 1994. The album captures their transition into more open, melodic territory while retaining the dense guitar textures and experimental spirit of their earlier work. Meriel Barham's vocals shine as caller as always, particularly on standout single 'Fine Friend,' which was adapted from Persian Rugs' 1981 track. This two-disc reissue includes the Fine Friend EP and a curated trove of unreleased demos and tracks that make it an essential addition for completists.
Review: Thom Yorke and Mark Pritchard revive the collaboration first aired on the latter's 2016 album Unde The Sun, this time across a full album reportedly four years in the (top secret) making. It's a compelling synthesis of Yorke's atmospheric melancholy and Pritchard's textured production. It expores a range of moods, from the uneasy tension of 'A Fake In A Faker's World' to the hypnotic rhythms of 'Back In The Game', while the eerie, spectral qualities of 'This Conversation Is Missing Your Voice' reveal the pair's ability to intertwine experimental soundscapes with a visceral emotional pull. Standout moments include 'Gangsters,' where Pritchard's intricately layered beats mesh with Yorke's haunting vocal delivery, and 'Wandering Genie,' which closes the journey with a strange sense of release. The music takes unexpected turns, not just as a statement of collaboration, but as a reflection of two artists playing with the unknown, pulling their sonic worlds into unexplored spaces. Each track is a feather in the cap of their combined ingenuity, with Yorke's vocal vulnerability and Pritchard's production wizardry in full synergy.
Review: Begun in earnest during the COVID-19 pandemic, after the former had remixed the latter's new Radiohead material, Mark Pritchard and Thom Yorke exchanged much of the for their new record Tall Tales remotely. Forerun by new single 'Back In The Game' then 'This Conversation Is Missing Your Voice', the album takes shape as a surreal mythopoesis, warping back in time to 2020's plague, where the former track's hyperreal music video (dir. by Jonathan Zawada) sees a rooftop figure defenestrating art itself amid grotesque figures bearing the worst of a mutant contortionist slice-of-life. Yorke has said that the album was crucial to him, describing the music-making process as "mental."
Review: Puma Blue, the project of South-London-born, Atlanta-based Jacob Allen, moves in a starkly different direction with this latest release. Stripping away the layered trip-hop, jazz, and electronica influences of previous works, he now focuses on a more direct and vulnerable form of songwriting. With just his guitar and voice, Allen crafts an album that feels intimate, raw, and deeply personal. Each track is a careful balance of simplicity and complexity. On 'Tapestry', the narrative unfolds like a dense, aching reflection, while 'Hotel Room' captures a moment of quiet melancholy with an almost confessional tone. In contrast, 'In the Absence of You' is stark in its honesty, delivering a minimalist sentiment that resonates with painful clarity. The absence of the full band setup places the weight of emotion solely on Allen's shoulders, allowing his vocal delivery and guitar work to shine. The result is a profoundly affecting listen, one that's less about expansive sound and more about the intimate space between notes, where every breath and pause feels significant. It's a deeply personal exploration of solitude and longing, executed with haunting simplicity.
Review: Hailing from The Gret White North's Toronto, PUP (Pathetic Use of Potential) are your favourite current punk band's favourite current punk band. Originally formed in 2010, the past decade and a half has seen the group deliver one consistent album of bangers after the next, with their new fifth full-length Who Will Look After The Dogs? arriving three years on from 2022's The Unraveling Of PUPTheBand, proving that prior titular statement to be mistaken information. Expanding their sonics as far as their musical palettes, the LP showcases the debaucherous yet earnest Canadian troubadours pulling simultaneously from both more radio-centric college rock as well as more intense hardcore this time around, while modern punk legend (and once Bomb The Music Industry lynchpin) Jeff Rosenstock makes a standout appearance on the latest single 'Get Dumber'. Gritty, melodic, and sincere, all within the same breath (or verse), it's a tough year for any punk band to compete whenever PUP rear their grimy head.
Review: Toronto's PUP are your favourite modern punk band's favourite modern punk band. Over the past decade, they've delivered one consistent album of bangers after the next, and now they return three years on from 2022's The Unraveling Of PUPTheBand to prove that title as mistaken information. Who Will Look After The Dogs? serves as the fifth full-length from the debaucherous yet heartfelt Canadians, stretching their sonics as far as their palettes, pulling from both more radio-centric college rock and simultaneously much heavier hardcore this time around, while once Bomb The Music Industry lynchpin and nowadays punk rock troubadour legend Jeff Rosenstock makes an appearance on latest single 'Get Dumber'. Not so much the "Pathetic Use of Potential" that PUP still claim to be.
Review: Rootsy LA indie darlings Rilo Kiley have reformed to embrace their retrospective best of era, even though it feels just like yesterday that the Jenny Lewis-fronted group were in their early 20s releasing their first albums. The band strongly evoke that late-00s/early-10's golden era of indie/chamber pop and are among the best representatives of that time. 'With The Arms Outstretched' is classic songwriting full of emotional depth. It is blessed to have Conor Oberst of Bright Eyes fame on backing vocals and it's sure to bring the crowds to floods of tears of joy in the reunion shows. Meanwhile, 'Let Me Back In' has a bit of The Strokes drummer's side project Little Joy about it, with its beautiful arpeggio picking and smoky, noir vocals. Elsewhere, 'A Better Son/Daughter' works around a stripped back Moldy Peaches-esque simplicity, before bubbling up into more of a procession with lyrics you can't help but want to march along to.
Review: Legendary British outfit Saint Etienne returned with their 12th studio album late last year, and now it lands on vinyl via Heavenly Recordings. A much-awaited follow-up to 2021's I've Been Trying To Tell You, this ambient collection offers a gentle, immersive experience designed to ease the noise of daily life. It was produced with Augustin Bousfield and blends songs, spoken word and rain-soaked textures into a seamless dreamscape, all recorded between Saltaire in the north and Hove down on the south coast. It captures the fragile space between waking and sleep with highlights like 'Half Light' and 'Preflyte'. As such, The Night is best experienced on headphones and is ideal for late hours, reflection and introspection.
Review: The American gothic rock and post-punk band She Wants Revenge - formed by founding members Adam Bravin and Justin Warfield in 2004 - hears a reissue of their second album 'This Is Forever' from 2007. A fascinating continuation of the gothic post-punk sound in an era in which it wasn't exactly fashionable, Bravin and Warfield present a brilliant mashup of eerie, gamey electronica and eye-popping, authentic punk here. The record opens with the looming piano castellations of 'First, Love' - a boom-boom-pow instrumental intro that suggests every grim, bloodthirsty motif you need to know, without saying a word - then the real carnage ensues with the likes of 'Written In Blood', 'True Romance', 'She Will Always Be A Broken Girl' and 'Rachel', all of which together tell a fierce tale of high-stakes heartbreak and redded redress; electrified punk, fallen women.
Review: Recorded in 1978 at the legendary Gibus Club in Republique, Paris when The Slits were defined by thrashy, visceral punk energy and hadn't embarked on their artful genre-splicing era just yet. The Slits you hear on this record is the original four-piece line-up, with Palmolive on drums and it was changes in their rhythm section that led to the embrace of reggae and dub. Having had a formative and breakthrough year in 1977 where they opened for The Clash, it's arresting hearing The Slits at this point in their trajectory. They audibly had the kind of youthful adrenaline and drive that only a band who've awakened to the fact that they're capable of taking the world by the horns can convey..
Review: Originally formed in London in 1976, The Slits made major waves with the frenetic post-punk energy of their acclaimed 1979 debut LP Cut, whilst their 1981 sophomore follow up (aka "difficult second album") Return of the Giant Slits would arrive mere months before the group's initial disbandment. Highlighting the internal creative differences occurring at the time of recording, the material showcases a major expansion of sound, pulling from rhythmic afro-pop and dub, conjuring a unique "world music" approach to post-punk before the likes of Vampire Weekend were even a twinkle in their father's eyes. The album would also serve as their last output until their return with the 2006 Revenge of the Killer Slits EP followed by 2009's third full-length Trapped Animal.
Review: Julius Smack collaborated with a fictional AI assistant to create the new album which explores his origins. It is set in a near-future Earth where artists and AI share a symbiotic bond and aims to reflect a world where beauty and violence intertwine. Artists are the last human survivors in this place and they mine their memories and dreams with AI in order to generate art which sustains them but also produces toxins that must be expelled with each new creation. Starlight then is an album which challenges AI's role in creativity and labour, and blurs the lines between art and reality, all while giving rise to a thoughtful and immersive album of innovative ambient.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Cherub Rock
Quiet
Today
Hummer
Rocket
Disarm
Soma
Geek USA
Mayonaise
Spaceboy
Silverfuck
Sweet Sweet
Luna
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
The Pumpkins' sophomore effort, originally released in 1993, remains a masterclass in balancing raw emotion with lush, layered production. Opening with the iconic 'Cherub Rock', the album immediately asserts its originality, blending Billy Corgan's searing guitar work with Butch Vig's pristine production. The track's dynamic shifts and explosive energy still sounds like nothing since. 'Today', with its deceptively upbeat melody and darker lyrical undertones, became a radio and MTV staple, while 'Disarm' showcased the band's range, swapping distortion for orchestral strings and highlighting Corgan's vulnerable songwriting. For longtime fans, 'Mayonnaise' often emerges as the album's hidden gemia track that marries melancholic melodies with cathartic, crashing crescendos. Throughout the album, Jimmy Chamberlin's drumming is nothing short of phenomenal, adding weight and complexity to tracks like 'Geek U.S.A.' and 'Soma'. Siamese Dream still resonates with the same potency, blending anthems of adolescent angst and shimmering beauty. A reissue that reaffirms the album's enduring legacy as a cornerstone of its genre.
First Hand Experience Of Second Hand Love (edit) (3:00)
Jukebox Head (3:35)
Quiet Rebellion (3:14)
Strange Kinda Dance (2025 edit) (3:14)
The Day The World Turned Day Glo (2:48)
Vapourise (radio edit) (3:47)
You Kill Me (3:12)
Last Chance (2024 edit) (3:15)
Murder Your Darlings (edit) (3:17)
Night & The City (2023 mix) (3:29)
Gemini Lounge (edit) (3:12)
Defiant (edit) (3:05)
Kill Shot (4:11)
Back To Nature (Marc mix) (2:35)
Review: Born from the success of Soft Cell's triumphant *Happiness Not Included record, the iconic and somewhat elusive - five studio LPs in 41 years - Soft Cell have decided to go all in with a package of alternative rides, previously unreleased mixes, and single-only B-sides. Nothing here featured on the original LP, and there are a few bonus workouts of stuff not from the source album, too. Cover versions of Fad Gadget's 'Back to Nature', X-Ray Spec's 'The Day The World Turned Day Glo', and a freshly minted take on the Cell's own landmark 'Last Chance' all elevate this, not that people were likely to have needed another reason to stick it in their basket. A great example of why less is more, but generosity is the secret to true satisfaction.
Review: Originally formed to fulfill Wire's contract with Mute Records after drummer Robert Grey's departure, WIR emerged in 1990 as an experimental offshoot of the post-punk legends. Their only album, The First Letter, featured sparse, sequence-based electronic music with Graham Lewis taking lead vocals and even self-sampling from Wire's catalogue. This newly remastered 2025 vinyl reissue includes their rare 1993 ORF radio session, which has previously only been available digitally, and adds a fresh, live-inspired re-recording of their most accessible track, 'So and Slow.' It's a window into a unique, fleeting moment in the band's history.
Review: Wire's 'Nine Sevens' is a double LP that serves as a reissue of their 2018 box set of 7" singles, which brought together early iconic tracks with more obscure later works. The compilation tracks the band's evolution from their monochrome early phase to the more complex, almost psychedelic sound that emerged by the end of the 1970s. The first disc resembles a traditional greatest hits collection, while the second veers into experimental territory and between them, all these 7" singles represent Wire's pop art explorations as well as being snapshots of the band frozen in time. This fine take on pop culture is a thrilling, artful journey through Wire's pioneering work.
Review: Xmal Deutschland commemorate their influential 4AD years (1983-1984) with a brand new release, literally presenting us with Gift. The collection celebrates the band's profound impact on British audiences in the early 80s, marked by a unique and half-devised lyrical language, as well as a magnetic feminine mystique commandeered by the women in the group. Their breakthrough support slot with Cocteau Twins accompanied the first two albums to come out via 4AD, which grabbed audiences by the collective ear with a painter's stroke of hard-graded darkwave and goth. Gift brims with a penumbral presence, while the titular "gift" is intended as pharmakon, both a present and a poison; Xmal's music is appropriately contradictory and complex, skating thin ices of beauty and elusivity. This limited-edition 3xLP boxset includes Abbey Road remasters of their albums Fetisch and Tocsin, along with tracks from related releases like Incubus Succubus II and Qual, packaged with striking artwork and a photo booklet. The magic of Xmal Deutschland lingers like radiation and has an indelible half-life.
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