London Vinyl & CDs

Review: Second time around for eccentric Sheffield trio The All Seeing I's sole full-length excursion, 1999's Pickled Eggs & Sherbert, which here lands on vinyl for the first time.The album, a celebration of Steel City creativity featuring cameos from Cocker, Tony Christie, Babybird and the Human League's Phil Oakey, is best remembered for hit singles 'The Beat Goes On', 'Walk Like a Panther' - lyrics reportedly penned by Jarvis Cocker - and 'The First Man in Space', but there are plenty more highlights amongst the unique blends of fractured dancehall rhythms, redlined electronica, oddball easy listening references, experimental d&b rhythms and genuine leftfield pop nous. For proof, check out blissful acapella number 'No Return' (where Lisa Millett plays a starring role), the breathless, bass-heavy house of 'Sweet Music', the weighty madness of 'I Walk' and the exotica-goes-big beat flex of 'Happy Birthday Nicola'.

Review: Not to be confused with the sweet dessert made from milk, cream and sugar, thickened via rice flour, gelatine, or Irish moss. To us, Blancmange refers to the English synth pop outfit formed in London circa 1979. Over seven years, Neil Arthur and Stephen Luscombe gave us a lot of incredible music, before calling time in 1986, only to return in the late-2000s eventually putting out a fourth album, Blanc Burn, in 2011. For the most part, Everything Is Connected celebrates their most fertile period through ten quality tracks (more are included on CD and DL versions), although technically what's here does span a 45 year period. Curated by Arthur, UK top ten singles 'Living On The Ceiling', 'Blind Vision' and 'Don't Tell Me' are here, but so too are some of their more overlooked gems.

Review: Synthpop trio Bronski Beat's 1984 debut The Age of Consent is a rarity in musical history; it both defined a generation and challenged the status quo. 40 years later and The Age Of Consent remains as prescient and vital as ever as it did on its original release; transgressive, defiant, queer, and laden with hooks. To celebrate its anniversary, London Records revisit the album across a series of formats, uncovering sonic archival gems, new mixes and more. This new edition technically contains two LPs: The Age Of Consent and Hundreds & Thousands, with five bonus tracks for each, plus remixes from Absolute., Planningtorock, The Knocks, Dave Aude, Tall Paul, and Superchumbo. Also coming with a detailed insert doubling up as a timeline by project consultant Barnaby Ashton-Bullock, this is the definitive retrospective product for anyone looking to complete their Bronski Beat collection (as best they can, anyway, for the love'll probably never end...).

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: Echo & The Bunnymen's What Are You Going to Do with Your Life?, their eighth studio album, reflects a more introspective and matured sound from the post-punk icons. Released in 1999, this album marked a departure from their earlier work's grandiose, bass-driven rock, offering a gentler, acoustic-driven atmosphere. Tracks like the title song and 'Rust' highlight Ian McCulloch's soulful vocals, with lush string arrangements and a restrained yet heartfelt delivery. The addition of horn accents on 'Get in the Car' and 'When It Blows Over' brings unexpected warmth, while 'History Chimes' closes the album on a melancholic piano note. The album showcases a thoughtful evolution of their signature sound, offering a reflective soundtrack for both longtime fans and new listeners. This album demonstrates a band comfortable in its musical maturity, resonating with the contemplative themes of aging and legacy.

Review: Northside courted controversy in more ways than one. Emerging from North Manchester in 1989, cynics were quick to point out their glaring sonic similarities to other Manchester groups, not least The Stone Roses, while the BBC, among others, moved even faster to ban lead single 'Shall We Take A Trip' due to its copious drug references, especially LSD. Nevertheless, the music itself was of a high standard, if led by others, and that quality meant the lead track broke into the Top 50 singles chart despite its lack of radio play. Produced by Ian Broudie, the album would produce one more track that made a chart impact - 'My Rising Star', which reached 32 and stayed in the league table for seven weeks - while as an LP the package peaked at number 19. Victims of circumstances, a follow up record was planned but the collapse of Factory Records in 1992 put an end to that, with the group disbanding shortly after.

Review: Orbital remain titans of the global electronic scene which is no doubt why their self-titled album from 1991 now gets mastered and reissued for this year's Record Store Day. A pioneering work in electronic music, this landmark debut is a rich world of driving drums, hypnotic melodies, and intricate soundscapes. From the propulsive energy of the seminal 'Chime' to the dreamy ambience of 'Belfast,' each track showcases the duo's mastery of rhythm and texture. Orbital's use of innovative sampling techniques and atmospheric synths creates a distinct sonic universe that still stands them apart and helps make this a timeless classic that has influenced generations of electronic artists ever since.

Review: Early 1990s classic The Green Album features iconic Orbital tracks like their breakthrough single 'Chime' and the legendary comedown tune 'Belfast.' After the success of 'Chime,' Pete Tong signed Orbital to London/FFRR Records and granted them the creative freedom to craft an album beyond the typical rave formula. Influenced by Kraftwerk and Cabaret Voltaire, the Hartnoll brothers came through and then some as they aimed to create a fully immersive and innovative album full of ambition which helped the duo become pioneers in electronic music, influencing artists from Bjork to Bicep and collaborating with figures like Madonna and Kraftwerk. Their second self-titled album solidified their visionary status, while their groundbreaking live performances are also by now the stuff of legend.

Review: This new and career spanning album A Beginner's Guide is a 'best of' collection tailored for both new or curious Orbital fans. Whether you discovered the duo after their iconic Glastonbury 2024 performance, during their global tour celebrating the Green & Brown albums, or through a track featured in a film, this collection offers an ideal introduction and recap of what makes them one of the most enduring acts in all of electronic music. It compiles there Hartnoll brothers's biggest hits in their edited forms and album includes utter classics like 'Chime,' 'Belfast,' and 'Halcyon' all of which give a fine a taste of the duo's influential electronic sound, all in one package for the first time ever.

Review: Utah Saints, the debut album from the British electronic duo, was originally released in the U.S., followed by a UK release in 1993. This album played a pivotal role in establishing the band as household names in the burgeoning techno scene, reaching number ten on the UK Albums Chart. The singles 'Something Good', 'I Want You' and 'What Can You Do for Me' showed the band's crossover appeal, with 'Something Good becoming a staple on college radio in America. A standout on the album, 'Something Good', prominently samples Kate Bush's 'Cloudbusting', lending it a nostalgic yet fresh vibe. Released as a single in May 1992, it soared to number four on the UK Singles Chart and captured attention on the US Billboard Hot Dance Club Play chart as well. The song also gained prominence during the BBC's coverage of the 1992 Barcelona Olympic Games. The album is full of great techno and dance music. This vinyl reissue features striking new artwork that beautifully balances modern aesthetics with a classic feel, ensuring it appeals to both new listeners and longtime fans. Utah Saints remains a defining work of its time, reflecting the innovative spirit of early 90s electronic music.