RCA Vinyl & CDs

Review: Everything about Bring Me The Horizon is stadium scale. Heavy metal proudly wearing deathcore and emo patches, from unapologetically direct lyrics through power chords and a vast timbre that makes each track feel ocean deep, fans of the Sheffield outfit will find them on as ferocious form here as at any point in their near-17 year career together.

Firing on all cylinders and then some, from 'Dear Diary' onwards it's a classic case of pissing off the parents and turning things up to 11. Then ravaging the mic in a cannibalistic frenzy. A sign of the times, tracks like 'Itch For The Cure (When Will We Be Free?)' And 'Obey', the latter featuring a guest appearance from YUNGBLUD, reflect increasing use of rave and drum 'n' bass nuances in the metal world right now, while 'One Day The Only Butterflies Left Will Be In Your Chest...' closes on dark, dramatic opera.

Review: Given that they started their ascent to EDM superstardom over a decade ago and have already released a string of genuine crossover anthems, this debut album from Camelphat is undeniably overdue. So, was it worth waiting for? If you like their brand of festival-friendly dance music hedonism, then you will genuinely love it. The assembled 21 tracks scattered across three action-packed slabs of wax draw influence from many interconnected styles - mostly electro-house, tech-house and techno, but also indie-dance, synth-pop, nu-disco and more bass-heavy flavours - and repackage them as distinctively Camelphat style productions, complete with contributions from numerous collaborators and guest vocalists (Noel Gallagher, Skream, Jake Bugg, Yannis Foals, Jem Cooke and Christoph all feature).

Review: The ever-controversial but always good value Miley Cyrus serves up her seventh studio album including already big tunes like 'Midnight Sky' and 'Prisoner' featuring Dua Lipa. The record was started two years ago and was all figured out and finished, but then got deleted. Cyrus skas that not only was th emu gone, but the whole relevance of it given how much changed in her life since the record was started. As such she wrote a whole new collection of tunes that are now presented here. Soft rock and pop, ballads and harder tunes, big arena anthems and power-riffs all feature.

Review: YES! Any self respecting music fan will no doubt already have fully acquainted themselves with Black Messiah, the long promised new album from soul artist D'Angelo and know that it already stands as one of the long players of the year if not the decade! The real fans have probably been waiting for the vinyl release and it's great to see the correct decision has been made to grant Black Messiah a double LP pressing. Everyone no doubt has their favourites on Black Messiah but it's great to have cuts like "Sugah Daddy" on wax, that one is perfect for the house party situations.

Review: Hot Pink is the second studio album from rapper and singer Doja Cat. Previous singles such as "Juicy," "Rules" and "Say So" will already be familiar to fans, while guests over the course of the 12 tracks include big names like Smino, Gucci Mane and Tyga. The artist allegedly quit smoking weed before making this album and the result sure is a versatile record that has plenty of punchy lines - both vocal and bass - and offers a rich array of r&b goodness that is utterly contemporary. This album very much asserts the fact that Doja Cat is a big new presence in the game and isn't going anywhere soon.

Review: The famously fun loving and colourful pop queen Paloma Faith shows a whole new life with her latest album The Glorification Of Sadness. As the title suggests, it is a captivating exploration of melancholy transformed into artistry with her signature soulful vocals and emotive delivery from and centre. They find Faith navigate themes of heartbreak and resilience with raw honesty and theatrical flair as each track unfurls like a cinematic journey adorned with lush orchestration and poignant lyricism. It's an album of bittersweet beauty. From the haunting to the empowering, always with a poignant narrative that celebrates the complexities of human emotion.

Review: Despite Dave Grohl's position in the rock firmament, the man rarely seems content to rest on his laurels, and this is proven once again by the mission he and the band embarked on to come up with Sonic Highways, their eighth album proper. Travelling around America to simultaneously record this album and create the HBO documentary series based on the musical history and local scenes of eight cities, he took inspiration from those he interviewed - from Dolly Parton to Bad Brains - to craft an album rich with the passion that first compelled him to play music. The result is the most life-affirming Foo Fighters record in well over a decade - explosive, melodious and fierily idealistic, it's a modern rock masterclass.

Review: Dreams can come true. When the late, great Robert Gordon was nine years old, the punk rocker turned Rockabilly-revivalist heard Elvis on the radio and he set his sights on becoming a rock & roll musician. The American went on to have a glittering career that included a stint in New York punk scene favourites Tuff Darts and having Link Wray on his records. But it was in 1978, upon signing to Elvis' label RCA, that he said it was "a dream come true." This is the first album Gordon did with RCA and his first with the go-to session guitarist of the time, Chris Spedding. It's a powerhouse of a record expertly weaving through rockabilly, 50s pop and country. Gordon's soulful vocals sparkle with nostalgic and lustful tones that are able to light up any room where it's heard. A true master of his art.

Review: He might be in the autumn of his career but Jean Michel Jarre remains an innovator in the field of electronic music. His last album in 2022, Oxymore, was another pioneering exploration of rhythm and sound that has now been reworked alongside a series of collaborators all picked by the man himself. The nine-track selection brings wholly new perspectives to the originals which he calls "a vibrant collection of musical dialogues." An immediate standout for us is the track with Nina Kraviz which is crunchy, distorted minimal techno, while 'Epica Extension' with Brian Eno is laced up with otherworldly melodies. A great work from a mix of great artists.

Review: Canadian Kaytranda's second album from late 2019 was defined by its exceptional collaborations and high class sound. Iman Omari, Mick Jenkins, Estelle and many more contribute to what is a gloriously fun, accessible album that is all about making you dance. Snapping beats ride over bumping bass on "Taste", "10%" with Kali Uchis has three different betas going on and a cameo from Estelle on "Oh No" is first class. The whole record is sequinned lie a Dj set, with appropriate ups and downs, thrill and spills, all keeping you locked. party starting yet meaningful, Bubba is coherent record full of charm.

Review: Lil Peep's "Everybody's Everything" is designed to accompany the documentary of the same name. It tells the story of the late Peep through his various collaborations (Nedarb, Fish Narc, Bighead, Smokeasac) but unlike many posthumous albums it's actually fantastically strong. Some of the lyrics certainly cut deep given Peep's eventual fate ("Took her to the crib and I show her how I die"/Lord why, Lord why, do I gotta wake up?") and the unheard collabs are well worth your attention. Musically it is raw, with guitar loops, trap drums and aching vocals all making it emotive to say the least. This one, then, will ensure Peep's spirit lives on strong.

Review: English rock band Nothing But Thieves are now just over a decade into their career but Dead Club City is already their fourth album. It has been preceded by the lead single 'Welcome to the DCC', a punchy and confident track that embodies the album's energy. The lyrics are sonically on point and show the band has managed to adapt and evolve as they head into this new creative chapter. Their sound might be rooted in rock, then, but they draw on experimental funk and 80's influences with bright synths and soaring choruses that bring inescapable tension.

Review: 1972 was a pivotal year for The King. Having spent a good deal of the previous decade growing increasing focused on movies - or perhaps more accurately, getting lost in a relentless filming schedule foisted upon him - he'd reached psychological lows towards the end of the 1960s, but then re-emerged more in control of his own career decisions and re-energised, with the famous Comeback Special a major catalyst.
Three years later he hit the road for a mammoth 15 city spring tour which would spawn its own movie (aptly titled, Elvis On Tour), and set the scene for the following year's live flick follow up, Aloha From Hawaii Special. The performances proved the fact that He Had Returned, bigger and bolder than ever, as evidenced through this collection of recordings from those 1972 rehearsals.

Review: American guitarist, singer, and lead songwriter for legendary rockers The Velvet Underground, Lou Reed also had a distinguished solo career, including Metal Machine Music, which remains one of the most radical and controversial albums ever released. First issued in 1975, its wall of feedback and distortion defied all musical convention, splitting critics and fans but earning cult status for its uncompromising vision. Now celebrating its 50th anniversary, this landmark work returns for Record Store Day 2025, having once been described by celebrated critic Lester Bangs as "the greatest record ever made in the history of the human eardrum," and who are we to argue.