Review: For the first time, David Sylvian's 29-track career retrospective, Everything & Nothing, comes to vinyl format. Spanning the incipience of Sylvian's craft with key cuts from his Japan and Rain Tree Crow days, through to his solo years with Virgin Records, this is a right summative beauty. We're surprised by its oversight on the part of record companies until now, with the album having initially only made it to a short CD and Minidisc run. Sylvian's sonic and lyrical Romanticism shines as brightly as ever here, with the pith at the wilful core of the record cogent in the pre-chorus line of 'The Scent Of Magnolia': "none of the history books describe what I've seen." Here we're also met with new remixes of 'Ghosts' and 'Bamboo Houses', as well as new session versions of tracks from the standout albums Secrets Of The Beehive and Dead Bees On A Cake.
Review: Twenty years ago it sounded like an oddly poignant evocation of pre-millennial tension. Two decades later it stands as an eerily prescient glimpe into the technological alienation and dislocation of of a new era. Yet more importantly, OK Computer is no more or less than a sparkling, dramatic and moving collection of songs that haven't lost any of their impact in the interim. The sound of a band stubbornly refusing to follow up the stadium-strafing stylings of its predecessor The Bends - and instead bursting headlong into experimentation and wild creativity -is portrayed in still more vivid colours by the alarmingly strong collection of out-takes and B-sides collected herein, Yet there's no getting away from the chill and spark that marked out OK Computer from everything surrounding it in the post-Britpop malaise, and continues to do so in the pre-Brexit counterpart.
Review: "In Rainbows", Radiohead's seventh album, finally gets a physical release! It's one thing downloading this landmark album, but to actually hold this is something special. Not only do you get increased sound quality, but you also get the amazing artwork from Stanley Donwood. This album includes "Nude", a live favourite for many years that was originally written during the "OK Computer" sessions. More minimal that their "Kid A" period, "In Rainbows" does something that very few albums have done - its sound is distinct from previous Radiohead albums, but is still clearly Radiohead. Hail to the kings, they are back on top form.
Review: Coldplay's tenth studio album, Moon Music, produced by Max Martin, follows their 2021 effort, Music of the Spheres, which saw great success. Chris Martin has been teasing this release for 18 months, heightening anticipation among fans and, led by the first single, 'feelslikeimfallinginlove', it won't disappoint their huge international fanbse. In line with Coldplay's commitment to sustainability, the physical release of Moon Music includes innovative packaging too and this individually numbered limited first edition is an Indie Exclusive Red rPET Eco Vinyl Edition.
Review: The Smile's Cutouts marks another step in the band's exploration of diverse sonic landscapes. Following their earlier 2024 album Wall of Eyes, this project further underscores the trio's commitment to musical experimentation. Thom Yorke, Jonny Greenwood of Radiohead and drummer Tom Skinner crafted Cutouts at Oxford and Abbey Road Studios, with Sam Petts-Davies producing. They offer a look into the album's eclectic mix of styles, blending elements of jazz, Krautrock and progressive rock,a blend of influences delivered with a raw, adventurous energy that distinguishes The Smile from their Radiohead roots. Cutouts is expected to unify these varied influences into a compelling sonic experience.
Review: Cutouts continues the three strong supergroup's exploration of diverse sonic landscapes, the new ten-track project reaffirming The Smile's commitment to pushing musical boundaries. The trioicomprised of Radiohead's Thom Yorke and Jonny Greenwood alongside drummer Tom Skinnericrafted Cutouts in Oxford and Abbey Road Studios, with production by Sam Petts-Davies. Preceded by the singles 'Foreign Spies' and 'Zero Sum,' the album promises a blend of styles, from jazz and Krautrock to progressive rock, all while maintaining a raw, experimental edge distinct from their work with Radiohead. The Smile have already captivated audiences with these tracks during their recent UK and European tours and as with their previous releases, Cutouts merges complex musical influences into a cohesive and intriguing sonic experience.
Review: The last ten years have seen no shortage of bands with their delay pedals set to stun intent on capturing an aura of dreamlike radiance. Yet Texas 'pop-noir' troupe Cigarettes After Sex are no ordinary shoegazers, for a variety of reasons - frontman Greg Gonzalez' androgynous and dulcet tones may be part of the appeal, yet moreover it's the quality of the songwriting here, which never falls prey to the style-over-substance traps of their peers. Indeed, this debut is more than enough to justify the considerable hype around this outfit, being a collection of ditties as sultry as they are atmopsheric.
Review: Australian combo Tama Impala has always been hard to pin down, with their two studio albums to date displaying a keen desire to capture a trippy, psychedelic vibe, whilst refusing to settle on one easy-to-categorize sound. Currents, their fourth album, continues this trend, toning down some of the psychedelic rock elements in favour of nods to blue-eyed soul, woozy dream-pop, cheery summery pop (see the radio hit in waiting "The Less I Know The Better"), and even the head-nodding rhythms of hip hop (which, incidentally, prove the perfect backing for the morphine pop wooziness of "Past Life"). It's a blend that re-casts the band as baked, inter-dimensional travellers with a neat line in enveloping, sun-kissed downtempo pop.
Review: After three groundbreaking albums with black midi, including 2023's Hellfire, Geordie Greep has carved out time to release his debut solo project, The New Sound. This album showcases an eclectic and vibrant approach to alternative pop, granting Greep the freedom to pursue creative impulses without restraint. He reflects on this liberation, stating that without a band to answer to, he could fully explore his artistic vision. The recording process involved over thirty session musicians across Sao Paulo and London, blending diverse influences. Greep notes the spontaneity of working with local talent in Brazil, where tracks were recorded in a matter of days. Musically, The New Sound delves into themes of urban life and human experiences, juxtaposing light-hearted melodies with darker narratives. Songs like 'Holy Holy' merge indie pop with lush Latin arrangements, while 'Motorbike' features bassist Seth 'Shank' Evans in a poignant lament. Greep's ambition is evident throughout the eleven tracks, aiming to engage listeners with intricate lyrics and unexpected turns. He hints at future live performances, aiming to capture the album's dynamic spirit in various settings.
Review: With the combination of band name and album title this one's always going to be a bit of a tearjerker, packed with self-reflection and self-loathing. No regrets, though, as Greg Gonzalez muses on sensuality, the loss of those we care about, the loss of self to another and the endless yearning of the human heart. Shades of Lord Huron and a wealth of gloomy shoegazers can be felt, but even though "Cry" represents a next step for Cigarettes After Sex - edging into more minimalistic territories - it's still immediately identifiable as this band, and so won't fail to instantly resonate with avid fans. Packed with an exquisite, opiate balladry at once heartfelt and heartbroken, it's hard to tell whether this is exactly what you need to hear when living through your blue period or precisely what you shouldn't listen to. Either way, it's quiet impact is immense.
Review: Rival Schools' Found is a compelling collection of rarities, demos and alternate takes, compiled during the years following the release of their 2001 debut, United By Fate. Initially released over a decade ago, the band has collaborated with Run For Cover Records to reissue this collection on limited-edition vinyl, timed alongside the reissue of their 2011 album Pedals. This version of Found is particularly special, with a rare yellow vinyl edition limited to just 200 copies. Found offers eleven tracks that showcase the band's musical experimentation and evolution during the decade between their debut and Pedals. Led by Walter Schreifels, a pivotal figure in the hardcore scene through his work with Youth of Today, Gorilla Biscuits, and Quicksand, Rival Schools also features members Ian Love, Cache Tolman, and Sammy Siegler, whose other projects include Iceburn, CIV, and Glassjaw. Found seamlessly fits into Rival Schools' discography, bridging the post-hardcore sound of their debut with hints of the more melodic direction they would later explore. Tracks like 'Reaching Out' and 'Paranoid Detectives' still pulse with the intensity and urgency reminiscent of Schreifels' earlier days, while songs like 'Tell It All To Me' reveal a growing emotional depth within the band's sound. Found remains a significant piece of Rival Schools' unique trajectory, capturing a moment in time that fans will find both nostalgic and rewarding.
Review: Yes, Mild High Club - AKA Alex Brettin, self-confessed "bartender and resident selector" of the fantasy 'institution' - understands how to make instrumentals that couldn't be easier listening or more inviting. Infectious loops, inflections (and then some) of soul and 1960s R&B, funk and disco. But scratch beneath the surface, or just listen properly, and Going Going Gone, the first album from this project in four years, has also succumbed to the horrors of our time.
'Me, Myself and Dollar Hell', for example, looks at themes of paranoia, individualism, gun control and violence, religion and belief, climate change and living in a kleptocracy. Rather than feeling like a scattergun approach to tackling The Big Issues of the Day, though, connections between these subjects are well made, positioning this as a post-modern release if ever we heard one. The rest of the LP isn't bad, either - well, it's actually excellent - but let's leave it at that.
Review: The Smile's Wall of Eyes is a triumph in atmospheric experimentation, bridging the delicate intensity of Radiohead's later works with a more abstract, avant-garde edge. The album is filled with a sense of mystery, its drifting, formless compositions creating a pervasive feeling of unease. Opener 'Wall of Eyes' beckons with eerie folk textures and art-pop flourishes, setting the tone for the record's dark beauty. Bending Hectic' stands as the album's crowning achievement, its near-ambient build-up exploding into a cathartic, thunderous conclusion, balancing beauty and chaos. Elsewhere, 'Read the Room' and 'I Quit' bring rhythmic complexity, adding layers of groove and intricacy. Thom Yorke's vocals, as always, are haunting, tying the record together with familiar yet fresh emotional depth. Wall of Eyes confidently charts its own path, a significant step forward from A Light for Attracting Attention, cementing The Smile as more than a side project, but a vital voice in today's alt-rock landscape.
Review: Greatest Hits Live by Steely Dan is a compilation of performances from their 1974 'All American Tour' and their 1993 reunion tour. Curated by Get Yer Vinyl Out, the album brings plenty of fine live renditions of their biggest hits, all meticulously restored and professionally remastered. Housed in a deluxe gatefold, the release includes extensive liner notes and rare artist photos, while the tracks are sourced from live FM radio broadcasts at the University of California, Irvine (March 10, 1974), The Record Plant in Sausalito (March 20, 1974) and Riverport Amphitheater in Maryland Heights (September 1, 1993).
Review: Lord Huron's album Strange Trails is a hauntingly beautiful album now being reissued to meet the demand from fans. The album's embedded narrative, featuring fictional singers and bands, creates a dreamlike atmosphere that evokes feelings of love, loss, and the cycle of life. Tracks like 'Love Like Ghosts' and 'Until the Night Turns' showcase the band's ability to blend serene instrumentals with poignant lyrics, while songs like 'La Belle Fleur Sauvage' and 'Fool For Love' explore themes of love from different angles. The album's standout track, 'The Yawning Grave,' offers a sung warning about death, adding to the album's mysterious allure. As the album concludes with 'The Night We Met,' Lord Huron's ability to evoke deep emotions through achingly simple lyrics is truly remarkable. Overall, Strange Trails is an essential album that looks deep into a world of myth and emotion.
Review: This is a special yellow vinyl version of The Greatest Love, London Grammar's long awaited fourth studio album, which arrives almost three years after following 2021's Californian Soil and a full decade plus since the group burst onto the scene with debut album If You Wait. Described by the band as a celebration of artistic freedom, it arrives amidst personal milestones like parenthood, global touring, and industry recognition, including two number-one hits and prestigious awards like the Ivor Novello and BRIT nominations. With a boundary-pushing blend of electronica and pop, the album reflects newfound confidence and creative liberation and signals another bold evolution in London Grammar's musical journey.
Review: What is there left to say to say about The Stone Roses' eponymous debut album that hasn't already been said already. Most of the songs here have become anthems for not one but several generations, from the bouncy opening moments of 'I Wanna Be Adored' to the elongated jam that brings 'I Am The Resurrection' (and the LP) to a close. For what is the iconic album for the indie-dance movement, it's surprisingly devoid if electronics, but the lethal combination of Reni's drums and Mani's bass playing create an irresistible foundation of grooviness, even in the more laid back moments like 'Shoot You Down' and 'Bye Bye Badman'. Steeped in the hazy 60's psychedelic pop of The Byrds and the 70's funk of Sly & The Family Stone, yet executed with a northern grit and football terrace singalong sensibility, this is the album that closed the 1980's and then went on to rule the landscape of indie rock for the next 30 years.
Review: In terms of landmark releases, you'd be hard pushed to find anyone that doesn't rank Suede's third as a seminal moment in their career. And that's not to say the departure of guitarist Bernard Butler somehow set them free, more to point out this record saw the band reach the heights of critical and commercial success, while also confirming they had definitely found their sound.
It's an album with smash hit singles and iconic tunes like 'Beautiful Ones', 'Filmstar', and 'Trash', all of which are still etched into the memory of anyone who was listening to any radio station back in 1996. But there's much depth here too, with a playlist that offers you nothing but the highest quality British alternative indie rock 'n' roll - passionate, camp, playful, tough and infinitely catchy. We didn't know how good we
Safe From Heartbreak (If You Never Fall In Love) (2:36)
How Can I Make It OK? (4:45)
Play The Greatest Hits (2:25)
Feeling Myself (4:41)
The Last Man On Earth (4:20)
No Hard Feelings (2:35)
The Beach II (3:38)
Review: RECOMMENDED
There's absolutely no doubt in our mind Blue Weekend is a record Wolf Alice feel a sense of enormous personal satisfaction from. Of course time will tell if it can bag them another Top 5 position, or even a Mercury Prize nomination, but for all intents and purposes there's a real feeling of catharsis here. And it goes well beyond famously reserved singer Ellie Rowsell telling listeners she doesn't give a fuck if they like her.
The band's latest punches, bangs and has absolutely no time for dishonestly. In many ways, this is where they are fully realising influences that have always been present - grunge, punk, some of that 1990s British indie-garage-with-bite crossover stuff. But it's also a record that sees them realising just where they've got to, and now reaching for a louder and more prominent position on the main stage.
Review: Acclaimed UK duo Jungle bring to Volcano the same sense of free-spirited energy that made their previous album Loving In Stereo such a hit. Much of this one was written while the duo was on tour, staying in an airbnb in Los Angeles, before they head to record it back in London at their favourite Studio B in Metropolis Studios. There is a wider variety of voices on this record with Erick the Architect as well as a reunion with Bas for 'Pretty Little Thing' who was last heard on the single 'Romeo.' As well as that, Roots Manuva, Channel Tres and Jnr Wiilliams also feature.
Perry Farrel - "Go All The Way (Into The Twilight)" (3:28)
Collective Soul - "Tremble For My Beloved" (3:47)
Paramore - "I Caught Myself" (3:55)
Blue Foundation - "Eyes On Fire" (4:57)
Rob Pattinson - "Never Think" (4:30)
Iron & Wine - "Flightless Bird, American Mouth" (3:59)
Carter Burwell - "Bella’s Lullaby" (2:16)
Review: A full Twilight soundtrack reissue campaign is well underway, once again bolstering the staying power of the teen emo-gothic vampire brand. As with the entirety of the series, the score for the first edition in the film franchise was overseen by music supervisor Alexandra Patsavas, with its original elements composed by Carter Burwell and also featuring curated songs from the likes of Muse, Paramore, Linkin Park and The Black Ghosts.
Review: The Specials revolutionised the British music scene in 1979 with their unique fusion of English punk and Jamaican ska. Their superb album Dawning of a New Era brings together their iconic 1978 demos, which were recorded when they were still called The Automatics, with Silverton Hutchinson on drums and before Neville Staples joined. The fine collection features raw, early versions of fan favourites like 'Night Klub,' 'Too Much Too Young,' 'Stupid Marriage,' 'Concrete Jungle,' and 'Blank Expression.' These rougher, edgier tracks reveal the band's reggae influences from the late 60s and early 70s and even mow still make for a thrilling listen from one of the UK's most vital outfits.
Review: Citirax's next outing takes the form of a debut album from Los Angeles-based duo OP-ART. This pair, like so much great music of recent times, is born out of the creative isolation of lockdown and features Andrew Clinco, who you may know for his work with Drab Majesty. The alias they have adopted is an acronym of "Oblique Pleasures Amidst Rough Times" which they say reflected the challenges of their formation. Musically the duo is inspired by the 1960s visual art movement so embraces layered, psychedelic soundscapes with a minimalist approach and takes cues from New Wave artists like John Foxx and early OMD. OP-ART in particular focuses on analogue synthesis and gear like the Arp Odyssey and Moog Rogue while exploring time, romance, and existential themes with real emotional depth.
We Pray (feat Little Simz, Burna Boy, Elyanna & TINI)
Jupiter
Good Feelings (feat Ayra Starr)
ALiEN HITS/ALiEN RADiO
Iaam
Aeterna
All My Love
One World
Review: Studio album number ten finds Britain's foremost purveyors of 21st century stadium rock combining lyrical fragility - the result of a conscious effort by front man Chris Martin to be more emotionally open - with typically lavishly executed (and at times orchestrated) music that doffs a cap to many of their now familiar themes. So while grandiose opener and title track 'Moon Music' (created in collaboration with Jon Hopkins) and the sing-a-long, late 80s indie-influenced stadium synth pop of 'Feelslikeimfallinginlove' reflect the sound and approach that powered them to superstardom, 'We Pray' sees them take a gentle turn towards bass-heavy, grime-leaning dancefloors in the company of Little Simz, Burna Boy, Elyanna and TMI, 'Rainbow' is a gospel-influenced slab of spirituality, Anya Starr collaboration 'Good Feelings' is a disco-pop delight and 'Aeterna' doffs a cap to more rave-inclined dancefloors.
Review: Blending jazz, blues, and rock elements, the Morphine's sound was anything but conventional, thanks to Mark Sandman's two-string bass, Dana Colley's baritone sax and the distinct rhythm provided by drummers Jerome Deupree and Billy Conway. Co-produced by Paul Q. Kolderie (Pixies, Radiohead), Sandman and engineer Steve Folsom, this album captures Morphine's lush and immersive sound, creating a deep, noirish atmosphere that would become their signature. The album's standout tracks, like 'Buena' and 'Thursday', show Sandman's knack for lyrics that teeter on the edge of danger and ambiguity. 'Candy' offers a glimpse of vulnerability, while the title track balances tension with a flicker of hope. Colley's sax often doubles as a one-man horn section, adding both visceral intensity and ambient texture. Sandman's haunting vocals and inventive bass work, paired with Colley's occasional simultaneous play of both baritone and tenor sax, made Morphine's sound truly singular. This 2024 Run Out Groove remastered edition brings new life to the album more than 30 years on from its initial release.
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