Mercury Vinyl & CDs

Review: For Now I Am Winter is Olafur Arnalds' third full-length studio album. His earlier albums, soundtracks and EPs, have been released through the Berlin based cult label Erased Tapes. Building and expanding on his previous more minimalist work, Arnalds' new album is his first to involve a full orchestra (co-arranged by Nico Muhly) and a vocalist (Agent Fresco lead singer Arn). Three shorter pieces - 'Sudden Throw', Nils Frahm's rework of 'For Now I Am Winter', and 'Brim' first signalled the emergence of the album, which now hears a full length release, with additional sonic pearls including 'This Place Was A Shelter' and 'Words Of Amber' standing out as especial highlights.

Review: Originally released in 1998, Garage Inc. would follow the split double albums of Load and Re:Load as a form of creative cleanse for thrash metal titans Metallica. Clocking it at over two hours, this epic compilation of covers taken from the Garage Days Sessions, B-sides, as well as new selections, paint a sprawling sonic picture of the vast array of influences each member holds dear. Running the gamut from punk and hardcore (Discharge, Misfits), to early proto-metal (King Diamond, Motorhead), all the way to their classic rock and more outsider inspirations such as Bob Seger, Blue Oyster Cult and Lynyrd Skynyrd (with their rendition of 'Tuesday's Gone' as an exceptional highlight); this bloated, overstuffed collection may appear overwhelming at first glance, but offers a curious through line and insight into the varying machinations that have maintained Metallica's status as the biggest thrash metal act of all time. It all had to start somewhere, and what better place than the garage?

Review: Following on from their iconic 1982 debut full-length Kill 'Em All, the sophomore effort from thrash metal titans Metallica would mark their turn towards not just darker but more introspective and dynamic songwriting. While jolting blasts of frenetic riffage and virtuosic solos still abound in cuts such as 'Fight Fire With Fire' and 'Trapped Under Ice', moments like the acoustic driven, melancholic 'Fade To Black' or the menacing instrumental closer 'The Call Of Ktulu' were indicative of the visionary prowess the still relatively young band would go on to explore and expand greatly upon with subsequent releases. It must also be noted that Ride The Lightning birthed two of the most essential cuts from the Metallica back catalogue with the eerie war torn anthem 'For Whom The Bell Tolls' and the Egyptian history lesson turned thrash opus 'Creeping Death', which already cover the price of admission.

Review: There's no thrash, or general metal album, apart from possibly Black Sabbath's Paranoid, that's as instantly recognisable as Metallica's 1986 magnum opus Master Of Puppets. Although garnering an internet revival of sorts thanks to the title-track's inclusion in the season four finale of Stranger Things (which subsequently lead to a meeting between actor Joseph Quinn and the band who would bequeath him a guitar), any metalhead worth their salt will tell you how this album never strays too far from their blackened (no pun intended) heart. Featuring an endless expulsion of the most complex, hard-hitting yet instantaneously memorable metallic, progressive thrash of not just the 80's, but of any decade; one look at the tracklist should see iconic bangers leaping off the sleeve. From the intense opening cut 'Battery' to the aforementioned and incomparable title-track, to the haunting 'Welcome Home (Sanitarium)', all the way to the epic instrumental monster 'Orion', this third LP took the promise of the band's preceding 1984 effort 'Ride The Lightning', and lofted it into the metal stratosphere.

Review: Metallica's self-titled fifth full-length, subsequently dubbed 'The Black Album', still serves as the controversial bridging point from their iconic run of four definitive thrash metal classics throughout the 80's, to their more sporadic and messy 90s output. For some, the inclusion of producer Bob Rock was a step too far into accessible territory as ten-minute instrumentals were abandoned, compositions were simplified, and the overall aggressive, grim edges showcased on the preceding classics Master Of Puppets and ...And Justice for All were somewhat sanded down to appeal to as large of an audience as possible. Make no mistake however, for every naysayer fan who opts to live in a fantasy where Metallica never continued into a second decade, there's still legions of adoring defenders who praise the balance the group would strike. It also doesn't hurt that the tracklist boasts literally some of the most well known and iconic cuts of their career, from the opening classic 'Enter Sandman' to the hefty groove of 'Sad But True', to more melodious fare like 'The Unforgiven' as well as the timeless ballad 'Nothing Else Matters'.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Post Malone's Twelve Carat Toothache is said to be his 'sobering comedown.' It is the fourth album from the US rapper who is as well known for his face tattoos and various different aces as he is his work in the field of rap and hip hop. Here he gets more honest than ever with an intimate look at his life and plenty of shared struggles. Love and booze are big and reoccurring features - as are, however unlikely it may seem, the folk outfit Fleet Foxes who Post has cited as one of his musical heroes. In riding a middle ground between hip-hop and alt-pop, Malone strikes gold here.

Review: The Rolling Stones are arguably one not only the most iconic rock bands of all time but also considered legendary performers as well. One of their most well-recorded performances (as noted by fans often) is their 2002 performance at the Wiltern Theatre in Los Angeles, with a track listing full of 70s classics and spread over three albums to get the best possible fidelity from the medium.

Review: Although he's not made much of an impact this side of the Atlantic, Chris Stapleton is massive news in the United States. Higher, his first studio album for three years, is therefore hotly anticipated back home. Whether you're already a fan or not, the album is well worth a listen - not least because Stapleton's distinctive style (which leans heavily on the richness of his Joe Cocker-esque voice) draws as much on Southern Soul, blue-eyed soul and Americana, as folk, bluegrass and traditional country. When he gets it right - which he does on 'Higher' - the resultant music is magical. For proof, see the bluesy soul simmer of 'Think I'm In Love With You', the slow-motion love jam 'It Takes a Woman', and the frazzled, lighters-up country-rock anthem that is 'White Horse'.

Review: The Who's Live At Shea Stadium 1982 (not the Shea Stadium where lower league UK football team Halifax plays, but a venue in New York) captures one of the band's most electrifying performances. Despite being decades into their career, they deliver a dynamic show that is full of their usual enduring energy and musicianship. The setlist is a blend of classics and newer material, each song performed with raw intensity, with Roger Daltrey's vocals soaring, perfectly framed by Pete Townshend's blistering guitar work. The live atmosphere adds an extra layer of excitement, with the crowd's energy palpable throughout, making this a testament to The Who's status as one of rock's greatest live acts that is well worth copping.