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Review: Returning a half decade on from their critically acclaimed sophomore effort A Distant Call, Philadelphia's 70s rock imbued punk outfit Sheer Mag return with their most honed, poignant collection of material to date. Moving on from the "personal coming out party" that was their first few projects, lead vocalist Tina Halladay has made it abundantly clear that this material could not have been penned just a few years prior, while their mission statement going into Playing Favourites was to rectify the fact that no artist seems "to write straight up rock bangers anymore", with an emphasis on having "huge, catchy songwriting front and centre". Signing to Jack White's Third Man Records seems simultaneously like a fitting rite of passage as well as affirmation of the band's monumental success, with their retro-fitted, fuzzed out 70s psych-tinged rhythm & blues grooves swaying and weaving around Halladay's sultry, snarling cadence with a resolute confidence only achieved over time.

Review: Muriel Grossmann is a prolific and prodigious talent. She plays sax, sings and composes and has penned plenty of albums, themes recent of which was Universal Code in summer 2023. Now the contemporary spiritual jazz maestro makes her debut on Jack White's U.S.-based Third Man Records label and once again comes some musical evolution. The name is inspired by her experiences of devotion resulting from her Buddhist meditation practice. It features plenty of extremely talented musicians and is a jazz album for the 21st century and beyond. This is a limited "sun & moon" orange vinyl version.

Review: The first of three albums from the Japanese post-everything auteurs titled Heavy Rocks, arrived in 2002 with the second and third installments coming in 2011 and 2022, respectively. These volumes served to allow the group to fully explore their heaviest tendencies with full abandon, and none are as adored or praised (or essential to own on vinyl) than the minimal orange adorned first entry. Plumbing the depths of psychedelic stoner rock, heaving sludge and cavernous doom metal, all whilst retaining accessible grooves and absurdly catchy riffage, this is Boris at their most abrasive, face-melting and imposing, while also serving as a solid entry point into their beastly 20+ album discography.

Review: The debut LP from the Raconteurs, released in May 2006. Serving as most fans' introduction to the band, Broken Boy Soldiers is the home for such canonical classics as 'Blueveins', 'Hands' and the anthemic 'Steady, As She Goes'. Such hits went so far as to charm even stalwart director, Jim Jarmusch, to direct a mystical music video for the lattermost song, owing to his penchant for music with a looming, bluesy edge, an aesthetic which the band had by then nailed. Railing against the predominant order of the day - steady living, unquestioned teleologies - the Raconteurs successfully delivered and now re-deliver a compelling, authentic Detroit blues rock project, best, it must be said, known as a latter-day effort by the one and only Jack White and friends.

Review: Grant Green's Live at Club Mozambique is getting a first ever and long overdue issue on vinyl courtesy of a new partnership between Third Man Records and Blue Note Records called the 313 Series Partnership in recognition of the fact it will focus on seminal jazz talents from Detroit, whose zip code is 313. The record was recorded live on January 6th and 7th, 1971 at Club Mozambique and showcases Green's extensive foundatiosn in r&b. When added to his next level mastery of bebop and a style that always favoured expressiveness over technical expertise and you have an enthralling listen.

Review: A live album by the American jazz guitarist Grant Green, Live At Club Mozambique - you guessed it - was recorded at the Club Mozambique in Detroit, on the night of January 6-7, 1971. Not released until 2006, and not to be confused with the Lonnie Smith album of the same name, the LP ended up as a means for longer-serving fans to recall Green's funk-oriented style in the late stage of his career. Renowned as an album that flaunts Green's sheer passion, poured into instrumental spectacle alone - the passion of playing - it's heard backed by a stellar band, including Houston Person on tenor saxophone, Ronnie Foster on organ and Idris Muhammad on drums.

Review: The first instalment of the three-album cycle from Japanese post-everything auteurs Boris, titled Heavy Rocks, originally landed in 2002 with the second and third volumes arriving in 2011 and 2022, respectively. These projects offered the subversive trio a chance to fully explore and expand their heftiest tendencies with total sonic abandon, with none being more adored or praised (or vital to collect on vinyl) than the minimal orange adorned first entry. Plumbing the depths of psych stoner-doom with forays into heaving sludge metal, all whilst retaining catchy grooves and absurd riffage, this is Boris at their most abrasive, face-melting and imposing, while also serving as a solid entry point into their beastly 20+ album discography. This pressing also comes on orange vinyl for the extra aesthetic-bothered collectors.