Back catalogue:

Review: A selection of fifteen pieces from the soundtrack of the cult anime Dragon Ball Z, on a limited 2xLP edition, fully licensed, including the main opening track 'CHA-LA HEAD-CHA-LA'. This soundtrack accompanies the anime's key moment in which Dragon Ball Z resumes five years after Son Goku's wedding. Radditz, a mysterious warrior, arrives on Earth to find Goku, who learns that he comes from a planet of warriors from a planet of warriors, of which only four remain. The plot is based on a succession of increasingly strong opponents to be fought, but there's often a quest or travel motif that adds interest beyond the duels. All this, and more, is bolstered by this electrifying soundtrack edition.

Review: The collaboration between Kyoto Jazz Sextet and Takeo Moriyama on their album Succession delivers a mesmerising fusion of traditional and contemporary jazz. Through intricate rhythms and soulful melodies, the album offers up a seamless blend of past and present that manages to honour jazz traditions while pushing new musical boundaries. Moriyama's percussive mastery adds depth and authenticity to the ensemble's dynamic compositions and creates an immersive vibe that captivates from start to finish.

Review: This Price album was originally part of the 2023 Diamonds and Pearls Super Deluxe box set, but now the triple vinyl live recording arrives on standalone yellow vinyl in a fancy triple gatefold sleeve. It was initially captured on January 11, 1992, at Prince's Glam Slam club in Minneapolis and is a performance that showcases Prince and The New Power Generation at their creative peak, just ahead of their epic world tour. Spanning over 100 minutes and 14 tracks in all, the still electrifying set focuses on material from the Diamonds and Pearls era and includes a preview of the then-unreleased 'Sexy M.F.' to make for a fine snapshot of a new era in Prince's evolving sound.

Review: Thom Yorke and Mark Pritchard revive the collaboration first aired on the latter's 2016 album Unde The Sun, this time across a full album reportedly four years in the (top secret) making. It's a compelling synthesis of Yorke's atmospheric melancholy and Pritchard's textured production. It expores a range of moods, from the uneasy tension of 'A Fake In A Faker's World' to the hypnotic rhythms of 'Back In The Game', while the eerie, spectral qualities of 'This Conversation Is Missing Your Voice' reveal the pair's ability to intertwine experimental soundscapes with a visceral emotional pull. Standout moments include 'Gangsters,' where Pritchard's intricately layered beats mesh with Yorke's haunting vocal delivery, and 'Wandering Genie,' which closes the journey with a strange sense of release. The music takes unexpected turns, not just as a statement of collaboration, but as a reflection of two artists playing with the unknown, pulling their sonic worlds into unexplored spaces. Each track is a feather in the cap of their combined ingenuity, with Yorke's vocal vulnerability and Pritchard's production wizardry in full synergy.

Review: This 3LP set commemorates 25 years of South Park, recorded live at Red Rocks Amphitheatre in Morrison, Colorado. Featuring creators Trey Parker and Matt Stone, alongside Primus and Ween, the album includes the most memorable songs from the show, a special highlight among which is the guest appearance by Rush's Geddy Lee and Alex Lifeson, who perform 'Closer To The Heart' with Primus and Matt Stone. The set is pressed on black vinyl, capturing a landmark celebration of the show's legacy.

Review: Talking Heads proudly reintroduce their iconic debut album, Talking Heads: 77, with the extensive Super Deluxe Edition, available in a comprehensive 3xCD + Blu-ray + Book format. This edition features a fresh AAA remaster cut directly from the original master tapes, ensuring that the album's unique sound is presented in the best possible quality. This release documents the evolution of the band, originally formed by David Byrne, Chris Frantz and Tina Weymouth and later expanded with the addition of Jerry Harrison from the Modern Lovers. From the outset, Talking Heads: 77 distinguished itself within New York's vibrant CBGB scene, characterised by Byrne's distinctive, high-pitched vocals and the band's tightly wound yet dynamic instrumentation. Key tracks like the haunting 'Psycho Killer' and the upbeat 'Pulled Up' stand out. Spanning nearly three hours, the Super Deluxe Edition includes many rarities such as outtakes and unreleased alternate versions, along with a never-before-heard recording of their final CBGB performance on October 10, 1977. The accompanying Blu-ray features an immersive Atmos mix and various remastered formats. Housed in an elegant 80-page hardcover book, this edition includes new liner notes and rare photos, celebrating the band's influential legacy.

Review: Tame Impala's breakthrough album 'Lonerism' celebrates its tenth anniversary with a special edition reissue. Through tracks like 'Elephant', 'Feels Like We Only Go Backwards' and 'Endors Toi', the album is known for introducing psychedelia to a new generation of hungry music fans in the early 2010s, and features Kevin Parker's distinctive falsetto vocals and intricate guitarwork throughout. The reissue here includes various bonuses, demos and "assorted sketches", casting renewed light on an important record for both the music-loving public, and an Aussie band/project destined for stardom.

Review: Phaedra is the fifth studio album by German electronic group Tangerine Dream, recorded in November 1973 at The Manor in Shipton-on-Cherwell, England, and released in 1974 through Virgin. An icier, tempoless departure for a band otherwise better recognised for their sequencer-led, soundtrack-bred sound, this was a hidden moulin for frost-drone fanatics, and a deviant pupil of the otherwise strict Berlin School. Despite receiving little to no airplay, Phaedra gained significant traction through word of mouth when it was released by a rather more hippified Richard Branson's fledgling Virgin label, eventually reaching number 15 on the UK Albums Chart and remaining on the charts for 15 weeks. Its long-form pieces, such as 'Sequent C' and 'Mysterious Semblance At The Strand Of Nightmares', represent an indifference to constraints of timing, instead washing over the ears as diachronic, swirling, crisp ice ambient smirrs.

Review: Horace Tapscott founded the Pan African Peoples Arkestra in Los Angeles in 1961, foregrounding community and expressions for Black people and their arts. Across their considerable legacy, this live album is one of the Arkestra's standout moments and now it's finally being repressed. Scott's leadership guides the Arkestra on a journey through the most life-affirming spiritual jazz, fuelled by Afro-centric rhythms, meandering basslines and soaring flute and horn arrangements. Recorded at the Immanuel United Church of Christ in LA in 1979, this double album is a stunning document of Tapscott's project during a golden era for underground jazz.

Review: This album recorded by Tatum and Webster in 1956 came just prior to Tatum's passing less than two months later. Revered as a masterpiece, the dynamic interplay between Webster's blend of aggression and lyricism and Tatum's flamboyance and delicacy creates a captivating encounter, with Callendar and Douglass providing impeccable support. Reissued previously by Essential Jazz Classics, this new edition adds bonus tracks from a 1953 Tatum solo session and four numbers from a summit meeting between Webster and Teddy Wilson.The opener sets a languid tempo, diverging from the breakneck pace of many bebop jams, establishing the album's relaxed vibe. And even as later cuts quicken the pace, there's an underlying sense of ease that permeates throughout. Tatum's cascades of notes serve as ornamental accents rather than urgent directives, while Webster, despite the excess reverb of the era, focuses on melody.

Review: In 1957, Art Taylor brought together an all-star ensemble for a recording session that captured the swinging energy of his Taylor's Wailers group. Featuring Donald Byrd, Charlie Rouse, and Jackie McLean, this Prestige session showcased the rhythmic intensity expected from a drummer-led band. The inclusion of two Thelonious Monk compositions, 'Well, You Needn't' and 'Off Minor,' arranged by Monk himself, adds a distinctive flair. Another highlight is Jimmy Heath's 'C.T.A.,' featuring John Coltrane alongside Red Garland and Paul Chambers, a dream lineup of Prestige regulars. Taylor's Wailers embody the pulse and drive of jazz's golden era, making this a timeless addition to any collection.

Review: Cecil Taylor's Live at the Cafe Montmartre captures a transformative night in jazz, with Taylor leading a powerhouse trio featuring Sunny Murray on drums and Jimmy Lyons on alto sax. Recorded in Copenhagen on November 23, 1962, this landmark set is Taylor at his most innovative, merging fierce improvisation with raw, rhythmic freedom. The opening track, 'Trance', immediately challenges traditional jazz rhythms, with Murray redefining percussive timing, while Lyons' sax riffs anchor the swirling chaos. In 'Call', Taylor's piano spills out haunting, dissonant notes, crafting a noir-esque atmosphere that dissolves rhythmic boundaries. By the time 'D Trad, That's What' closes the set, the trio is in full flightia 21-minute frenzy that matches the legendary energy of Coltrane's performances. Legend has it that Taylor was inspired by a Coltrane concert the night before and the influence is palpable, driving each musician to extraordinary limits. Remastered by Dave Gardner for audiophile-grade vinyl, this release brings the brilliance and intensity of Taylor's pioneering vision into sharp relief. It's essential listening for jazz fans and anyone eager to experience the beginnings of true free jazz.

Review: Comicon attendees take note, Smilebit: Technorider Tammy 2 is now in stock and by all accounts is going to be shift quickly. Ultra rare, ultra weird, ultra intense and aurally colourful, if you're unfamiliar this is one of many cult works from the acclaimed and hugely influential video game and electronic music composer Shinji Hosoe, mastermind behind tracks for titles like Ridge Racer, Final Lap, Galaxian 3, and Bushido Blade. A man who rose through the ranks at groundbreaking development house Namco to become one of the company's lead musicians. Smilebit: Technorider Tammy 2 is actually one in a series of electronic mini-albums Hosoe made during the early noughties, and it's pretty indicative of how batshit his output could be. Bold, brash, hyperactive and like the record equivalent of diving into a sea of neon signs, this is a release many have been waiting for on vinyl and supplies are limited, making for a bonafide collector's item.

Review: The Alternate Blues presents a standout gathering of three iconic trumpeters - Dizzy Gillespie, Freddie Hubbard, and Clark Terry - alongside jazz luminaries like Oscar Peterson, Joe Pass, Ray Brown, and Bobby Durham. Recorded in 1980, this album captures the essence of a classic jam session, showcasing the musicians' virtuosity and camaraderie. The slow blues jams on this album, each exceeding eight minutes, allow the players ample space to explore and express themselves. Despite the relaxed pace, the performances are emotionally charged, drawing listeners into the heart of the blues tradition. Granz's decision to release alternate takes adds a layer of authenticity, capturing the spontaneity and energy of the sessions. Highlights include Hubbard's soulful rendition of 'Here's That Rainy Day' and the stellar ballad medley featuring all three trumpeters. The interaction between the musicians is seamless, resulting in a cohesive and stunning recording. In sum, The Alternate Blues is a bookmark for jazz aficionados, offering a rare glimpse into the creative process of three legendary trumpeters.

Review: RECOMMENDED
There's always been an air of mystery about The The. Look through the band's history, which stretches wayyyyy back to the late-1970s, and the list of collaborators alone is enough to convince you they've been making moves in the right places for many, many years, striving to innovate and carve out their own space in the unarguably busy post punk landscape.

Everything Matt Johnson touches seems to turn to gold. Albeit a particularly scuzzy gold that exists solely in the darkest rooms of the least kept venues. Even on this accolade - a group getting a spot at The Royal Albert Hall is no mean feat - there's a sense of yellow-hued street lights and rain falling on concrete. But this is combined with a poetic element that's up there with the finest literary Romantics, and a commentary that will tell you all there is to tell.

Review: Thelonious in Action, recorded live at the Five Spot Cafe in 1958, captures jazz king Thelonious Monk at his improvisational best. Featuring Johnny Griffin on tenor sax, Ahmed Abdul-Malik on bass and Roy Haynes on drums, the album showcases the quartet's dynamic interplay and Monk's unique, percussive piano style. Highlights include the lively 'Blue Monk' and the intricate 'Rhythm-A-Ning.' Griffin's robust sax lines complement Monk's eccentric rhythms throughout to create a vibrant, engaging atmosphere. The album's live setting adds an intimate, spontaneous feel, making this newly reissued classic a must listen for jazz enthusiasts and a brilliant example of Monk's enduring genius.

Review: Up next in the gamut of Coil-adjacent reissued gems is this 3xLP vinyl version of The Threshold Houseboys Choir's Amulet. Having gone down in whispered legend as the ultra-secret limited-quantity direct mail-order (we could go on) holy grail that flaunted Peter "Sleazy" Christopherson's then latest semi-secret solo guise, Amulet was an exemplar of Marshall McLuhan's definitive aphorism, "the medium is the message," coming housed in a hand-assembled 4xCDr mini-set enclosed in an original, circular Thai Amulet case. The second and final release of this short-lived and much coveted moniker, Amulet, now hearing the vinyl reissue it deserves, is a rough collection of obsessive ritualistic diamonds in the rough, stylistically drawing on dub, drone, power electronics and East Asian music, and brought together by Christopherson's trademark digitally generated choir - whose verbalisations are wilfully incomprehensible, with the intent to sound uncanny, dreamlike - and which he often reverses and timestretches to unsettling effect.

Review: The release of Thursday's Full Collapse Live marks a significant moment for fans of the band and post-hardcore music enthusiasts. The live album, available as a 2xLP vinyl, captures the intensity and raw emotion of Full Collapse, originally released in 2001. This live recording brings to life iconic tracks like 'Understanding in a Car Crash,' making it a must-have for Thursday's longtime listeners and collectors alike.

Review: Catch The Groove: Live At The Penthouse 1963-67 does what it says on the tin; with all of the performances heard on this set having previously unreleased, Latin jazz vibraphone legend Cal Tjader is heard with a variety of quintets at the seminal Pacific Northwest venue; he's heard backed by pianists Clare Fischer, Lonnie Hewitt and Al Zulaica, bassists Fred Schreiber, Terry Hilliard, Monk Montgomery and Stan Gilbert, drummers Johnny Rae and Carl Burnett, and percussionists Bill Fitch and Armando Peraza. Part of a new series homing in on live jazz greats by record producer and "Jazz Detective" Zev Feldman, Tjader more than fits into this retrospective effort, with Feldman himself noting the bittersweet diminution of Tjader's popularity in the present era, despite commanding reams of attention from a massive audience while he was alive. All's well that ends well, then: this one comes as both a deluxe LP and CD edition for new-heads and completists alike.

Review: Fear Inoculum brought a 13-year Tool hiatus to an end in typically dramatic, knock-your-socks-off and blow wind through your hair style. A fine example of what the group have always done so well - running with wolves like Mogwai, only with far more metal sensibilities, and a damn-sight bigger helping of experimentalism, when this bad boy arrived in 2019 it shot straight to the top of the US Billboard 200, the third consecutive record from the group to do so.

Of course, those charts don't necessarily mean as much in this age as they did when the preceding Tool LP dropped, but 270,000 album-equivalent units within the first week do not lie. Nor does the quality of work here. From the avant-garde percussion and awkward synths of 'Chocolate Chip Trip', to the almost-ethereal ambience of 'Legion Inoculant' and the riff and crescendo heavy 'Pneuma', it's a wild thing of beauty.

Review: Synth-pop, cold wave, dark wave, EBM, future pop. Whatever label you want to give Joyland, the second studio album from Canadian electronic music project TR/ST, one truth is undeniable - this is unashamedly overt and unapologetically futurist in sound, and the tracks big enough to fill a main stage and then some. Opening on 'Slightly Floating', a rare moment of calm before the storm, once second tune 'Geryon' drops it's game over in many ways. You're in, and there's no way out. That said, it's not all rave horn synths and bounding kicks drums. 'Are We Arc' is as weird, trippy and opiate as they come, like the twisted fever dream of a cabaret duet. Or something similar. 'Four Gut' is a wobbly tech-hued workout, and the title track probably owes as much to hardcore as anything else.

Review: Tsuyoshi Yamamoto Trio. Japanese jazz legend Tsuyoshi Yamamoto has been busy with his trio for this new album A Shade Of Blue which comes on gatefold 180 gram vinyl via Evo Sound. The record is a reflection of his love of the classic piano trio. Such a setup was only first conceived in around the 1940s when jazz cat Nat King Cole first had the idea which was then further built on in the fifties by now well regarded innovators such as Oscar Peterson, Ahmad Jamal and Bill Evans. Alongside bassist Hiroshi Kagawa and drummer Toshio Osumi, Yamamoto revels in great musical chemistry for this most sublime album.

Review: South African rapper TUMI teams up with French trio Chinese Man for a genre-defying collaboration here that reimagines hip-hop through a global lens. Drawing from dusty crates and forgotten corners of music history, such as banjo riffs, 1930s swing and Andean flutes, the production is a crate-digger's dream that boldly ventures far beyond traditional hip-hop terrain. The result is a rich, textured sound that's both nostalgic and refreshingly new as TUMI's lyrics weave between irony and poignancy and are grounded in sonic experimentation with sharp social commentary. This is a bold, borderless journey and proof that when cultures and styles collide, magic happens.

Review: Originally released in 1993, and noted as the first album on Roadrunner Records to be certified as Gold in the US (before achieving platinum status in 2000), Bloody Kisses served as the third full-length from gothic alternative metal legends Type O Negative. Boasting some of the band's most renowned cuts such as 'Christian Woman' and 'Black No. 1 (Little Miss Scare-All)', while continuing their trend of odd cover versions with the controversial rendition of the Seals & Crofts' track 'Summer Breeze' (which had to be re-recorded and its revised lyrics restored to the original upon Seals & Crofts being offended by Peter Steele's "distasteful" reimagining), the project has since become the high watermark for the group's overall aesthetic and style. This green vinyl 2xLP reissue provides a new definitive home for Steele's revised digipack version that cut away many of the interlinking interludes in an effort to de-clutter the project. A move that may have left a bad taste in other members' collective mouths, but ultimately led to the project being one of, if not, the most notable and adored in the Type O Negative cannon.

Review: The influence of Type O Negative continues to be felt long after Peter Steele's death signalled the end of the band. The goth metal band have a generous number of high points in their career, and 2003 album Life Is Killing Me is surely one of them. Drawing on his personal struggles at the time, Steele created a powerful statement draped in the grandiose style of rock he had cultivated since the band's debut. As well as the single 'I Don't Wanna Be Me', there was a cover of the song 'Angry Inch' and the opening track 'Thir13teen', a piece of music from classic TV show The Munsters. Two decades on from its original release, this is the first time the album has been released on vinyl, presented as a triple black and green pressing in a trifold sleeve.