Back catalogue: All genres

Review: Adelaida's fifth studio album Retrovisor arrives here on lovely high-quality 140g black vinyl which also comes with an insert with lyrics as part of the hand-numbered and limited edition 'The Noisy Series' on Spinda Records. It is a full throttle 13 track rock workout with dense and gauzy guitars layered up into impenetrable walls as the vocal wails fight your attention. It is a raw fusion of indie, grunge and shoegaze all the way from Santiago that will remind of classic bands from the late 90s.

Review: Alice in Chains' Jar of Flies from 1994 is a masterful album that showcases the band's versatility and songwriting prowess across an acoustic-driven collection of tracks. They deliver plenty of haunting melodies and introspective lyrics that make for a deeply immersive listen. There is a real melancholic beauty to 'Nutshell' while a gritty intensity pervades 'No Excuses.' Each song offers a glimpse into the band's emotional depth and musical complexity, always with raw emotion and captivating performances that make this one a standout release in Alice in Chains' discography.

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


Alice in Chains' Jar of Flies from 1994 is a masterful album that showcases the band's versatility and songwriting prowess across an acoustic-driven collection of tracks. They deliver plenty of haunting melodies and introspective lyrics that make for a deeply immersive listen. There is a real melancholic beauty to 'Nutshell' while a gritty intensity pervades 'No Excuses.' Each song offers a glimpse into the band's emotional depth and musical complexity, always with raw emotion and captivating performances that make this one a standout release in Alice in Chains' discography.

Review: The latest album from Alice In Chains, and the first to be released in five years (following up 2013's The Devil Put The Dinosaurs Here), Rainier Fog was released in 2018 and now already hears a full reissue via their label BMG. Nominally and in content, the album was inspired by the volcanic Mount Rainier, which overlooks Seattle and looms large like a geo-musical behemoth over the seattle Music scene, from which the band first emerged alongside the likes of Nirvana, Screaming Trees and Soundgarden. A paean to the band's hometown, Rainier Fog lands as a heady mixture of oral history, suspense, together with all the signature hallmarks of AIC's grunge-sludge. It now comes reissued in coloured vinyl 2xLP form.

Review: Having just reformed earlier this year for their first headline tour in almost a decade, what better time to revisit the criminally underrated and often overlooked fourth full-length from power-pop-punks The All-American Rejects? Originally released in 2012, and following on from the mega successful yet sonically safe When The World Comes Down, the band strived to push themselves further out of their comfort zones than they'd initially ever thought possible. Channelling everything from 60s mod garage rock to orchestral big band jazz, yet all coalesced within the whimsical, sardonic and endearingly earnest penmanship of primary songwriter Tyson Ritter, Kids In The Street is that curious project that offered fans an entirely new, static-shattering chapter that they weren't at the time ready to digest. A decade on, what was once considered their swan song might not clasp onto that title for too long more, yet is in dire need of reappraisal either way.

Review: Canadian singer, songwriter and visual artists Allie X - real name Alexandra Ashley Hughes - is a great representative for the resurgent live electro-synth scene. Emerging from the Toronto indie circuit in the mid-2000s, it was a relocation to Los Angeles, a heartland for neon sounds, and early work with producers Circuit and Billboard that first saw an identity begin to form, which is as retro as it is futuristic, picking up scores of fans along the way, including Katie Perry no less. Girl With No Face is her latest long form, and sees the artist again stick her flag confidently in the ground. Tunes bounce, track, soar, step, pump and - at times - fall apart, emotionally speaking, with clear references to the likes of Ladyhawke, Madonna, Kraftwerk, Cocteau Twins and a-Ha, among others. Definitely one to watch, if you're not already.

Review: Lush fans will be aware that three of the bands albums are all being reissued, but also this year will founding member Emma Anderson release her solo debut long player. Pearlies, released by Sonic Cathedral, again shows why Anderson is one of the most underrated British songwriters to have come up during the Brit pop and shoegaze era. Here she works with Maps aka James Chapman on tune that effortlessly mix electronic pop with psych and folk and astute lyrics that muse on subjects such as confronting your fears, embracing independence and moving on.

Review: Part of Sony's latest reissues motive for weirdo champer pop songstress Fiona Apple, When The Pawn... is said to have broken the record for longest-ever album title, a record we're sure has been broken more recently by a much more obscure netizen we're not particularly fain to track down. That being said, this opening gambit did do well to evoke what Apple was shooting for with her second album, which saw to the likes of 'Paper Bag' and 'Fast As You Can' - waltzing, ornamented songs, laying claim to a convincing development in Apple's sound.

Review: Fiona Apple's debut album, Tidal, was released in 1996 and has since gone down as one of the foremost examples of the experimental pop artist's style-unto-no-other. Bringing the likes of 'Shadowboxer', 'Sleep To Dream', and standout 'Criminal' to the forefront of the contemporary imagination, the album functioned personally as a proof of talent: in Apple's own words, she was "proving myself, telling people from my past something. And to also try to get friends for the future." If Apple's pre-emptive lonesomeness wasn't assuaged after this album's release, we'll eat our hats. Its ten tracks singles portray Apple's young-adult angst against a predominant trip-hop backstyle, flaunting her palmy and present vocal delivery in particular.

Review: Fiona Apple's 2005 album, Extraordinary Machine, is a unique blend of alternative and pop sounds flaunted from the upbeat 'Not About Love' to the gentle 'Parting Gift'. Coming a whopping six years after her incendiary sophomore When The Pawn... album, the release was notably shafted for two years after its intended release in 2003, inciting some speculation around the album's - sigh - commercial appeal. The impetus to release the album was ultimately fan-led, and led to a full-blown re-record by Apple, not to mention an all-out frenzy on the P2P and Torrenting scene.

Review: Fiona Apple's fourth studio album, originally released in 2012, features 'Werewolf,' 'Hot Knife,' and opening track 'Every Single Night'. Now reissued via Sony, we're reminded again of Apple's surrealist, melancholic fantasy; from the opening breakup single, which stops and starts with virtuosic restraint and metric indeterminacy; to 'Valentine', which continues Apple's preference for huge chords and piano-bound ballads, as she laments her inability to resist tarrying in youth; this is quite literally a run-on sentence in album form, with Apple compellingly putting across a restless persona, unable to settle into contentment.

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


Part of Sony's latest reissues motive for weirdo champer pop songstress Fiona Apple, When The Pawn... is said to have broken the record for longest-ever album title, a record we're sure has been broken more recently by a much more obscure netizen we're not particularly fain to track down. That being said, this opening gambit did do well to evoke what Apple was shooting for with her second album, which saw to the likes of 'Paper Bag' and 'Fast As You Can' - waltzing, ornamented songs, laying claim to a convincing development in Apple's sound.

Review: Given Tornado Wallace's impeccable Balearic credentials, you'd expect his new A.S.O project - a collaboration with Berlin-based singer-songwriter Alisia Seror O'Neill AKA Alias Error - to tend towards the dreamy, immersive and emotive. It does, of course, with the pair conjuring gorgeous slabs of downtempo leftfield pop variously influenced by the layered textures of shoegaze, the wide-eyed bliss of 80s dream pop (Seror O'Neill's vocal delivery is at times reminiscent of Cocteau Twins' Elizabeth Fraser), the blazed Bristol beats of Massive Attack, the flat-on-your-back day-break headiness of ambient, the hard-to-pigeonhole brilliance of the Duratti Column and the late-night-on-AM-radio atmosphere of Kelley Polar and Morgan Geist's similarly inspired Ai Suisse project.