Back catalogue:

Review: Following their reformation in 1989 after a near decade-long hiatus, Buzzcocks enjoyed a welcomed resurgence throughout the 90s, never illustrated better than on the French live album captured during their performance at L'Arapho Club in Paris on April 12th 1995. While only the initial 20-song set would be featured, in 1999 the band would release the (at-the-time fan club only) Encore Du Pain, offering up the 10 final tracks from their three encores at the very same show, featuring fan favourites such as 'I Don't Know What to Do With My Life,' 'Orgasm Addict' and 'Ever Fallen in Love?' The pair of releases would eventually be collated into the French et Encore Du Pain double live album, but this single LP restores the Encore Du Pain tracks to their singular nightcap greatness. It also clarifies that Buzzcocks weren't the type of cheap bastards to only deliver a ten-song performance to a paying, sold out crowd.

Review: Brock Van Wey is bvdub, a towering ambient figure and venerated veteran who continues to find newness in his work. He's back on Past Inside The Present here with 13 (on vinyl for the first time) which, he says, "represent one edict or idea from chapter 13 of the Tao Te Ching" which are about putting focus on humility and freedom from desire as a way to lead a peaceful life. Flickering melodies and slowly shifting harmonies set the tone from the off with track two introducing pulsing keys and low-end distortion. Elsewhere, layers of propulsive patterns and dubby motifsweave together with soft distortion and tracks ten and 11 build to great intensity and the finale brings delicate strings. Listening is an easy way to ensure a peaceful escape

Review: Brian Auger's Streetnoise was originally recorded in 1969 with Julie Driscoll and The Trinity. It stands proud as a genre-blurring work of jazz, rock, folk and soul greatness that found the group moving beyond their r&b and jazz roots. Instead, Auger and Driscoll crafted a progressive, avant-garde yet deeply soulful record in which Driscoll's haunting vocals contrast beautifully with Auger's instrumentation. The gatefold sleeve was designed by Hunter S Thompson collaborator Ralph Steadman and was inspired by Hogarth's satirical etchings which in turn reflects the album's artistic ambition. Streetnoise features dynamic instrumentals like 'Ellis Island', great reinterpretations of 'All Blues' and 'Flesh Failures' and standout tracks such as 'Indian Rope Man' which highlight Auger's visionary fusion of styles.

Review: Benny Blanco and Selena Gomez's collaborative album is steeped in heartfelt emotion with catchy, contemporary pop tunes the vehicle for their expression. I Said I Love You First is a perfect example of Blanco's signature production style which mixes soft beats with smooth melodies, while Gomez's vocals portray both vulnerability and confidence. The tracks explore themes of love, heartbreak and personal growth while balancing upbeat anthems and introspective ballads. Highlights include the emotionally charged title track and the infectious rhythms of songs like 'I Can't Get Enough.' The chemistry between Blanco and Gomez is palpable here.

Review: Two British pop legends unite for Who Believes in Angels?, a new record spot-checking our faith in divinity. Having connected through a mutual admiration and shared love of music, Elton initially became a fan of Carlile through her effusions of folk, rock and country, which matched the former's megastar's sometimes pained, moving songwriting. Their friendship deepened over the years, with Carlile performing at Elton's annual AIDS Foundation events and joining him on stage for special collaborations. Now blending Elton-led and Brandi-led tracks, the album contains lyrics from longtime collaborator Bernie Taupin alongside Carlile's own contributions, with production by Andrew Watt. This marks Elton's 33rd studio album and Brandi's eighth.

Review: A long-lost gem from drum legend Edison Machado finally sees the light of day: Edison Machado & Boa Nova, recorded in New York in 1978 but never released, reflects the work of the master muso-mountaineer at his peak, fusing North and South American jazz rhythmic traditions with groundbreaking samba innovations. Machado, a pioneer of "samba no prato" (samba on cymbals), redefined Brazilian jazz alongside Jobim and Gilberto. Forced into exile under Brazil's dictatorship, he later found new creative energy in NYC, leading an ensemble of top-tier musicians. The result? A daring, dynamic, and electrifying session, controlled but untamed. Alongside original contributions from Dom Salvador, Guilherme Vergueiro and Aloisio Aguiar, this 80-minute lost masterpiece singes our ears with its carpal flair.

Review: A second joining of forces from two celebrated Chicago acts, blending deep, organic rhythms with a minimalistic electronic pulse. With the novel but logical addition of Jason Stein on bass clarinet, the collaboration stretches even further, pulling together the spiritual fluidity of Natural Information Society and the electronic minimalism of Bitchin Bajas. The first single, 'Clock no Clock,' is a deep dive into hypnotic rhythms, with guimbri grooves intertwining seamlessly with electronic bursts, flutes and organs. The other three tracks are equally compelling, the music unfolding like a living organism, constantly shifting but always grounded. Expansive, intricately woven sonic delights.

Notes: Murray Bowles photographed Bay Area punk for four decades, capturing its infectious energy, wild creativity, and ragged tenderness everywhere he found it.

From San Francisco's Mabuhay Gardens to Berkeley's 924 Gilman- and the countless basements, backyards, and warehouses in between- Murray was there, camera in hand, the scene's beloved documentarian.

Collected here for the first time, Murray's classic images chronicle a uniquely dynamic and enduring music community in all its chaos and glory.

Featuring hundreds of images of bands such as Green Day, Operation Ivy, Neurosis, Crimpshrine, the Dead Kennedys, MDC, Special Forces, Social Unrest, Spit Boy, Melvins, Gwar, Soundgarden, NOFX, The Offspring and many, many more.

This collection of photographs documents and celebrates the punk music scene from the early 1980s through the mid-1990s.

Hail Murray
The Bay Area Punk Photography of Murray Bowles, 1982-1995
By Murray Bowles
Edited by Anna Brown
Introduction by Aaron Cometbus

Hardcover, 270 pages, 12 x 9 landscape