Back catalogue: All genres

Review: Renowned for his seminal work with acts such as The Moody Boys, 400 Blows, and The KLF, the incomparable Tony Thorpe compiles this astutely curated, meticulous collection of 16 rare and sought-after post-punk era cuts that the maestro would regularly spin at parties, making them his personal pile of niche gems. Featuring tracks from Public Image Ltd, Mark Stewart and The Maffia, Basement 5, 23 Skidoo, and African Headcharge, to name but a small handful, Post Punk Theory arrives spread out across 2xLP and includes a 40-page fanzine booklet written by Matt Annis with photographs by Simon Pyke and Ian Brodie. A unadulterated true post-punk time capsule for both lifers and studious newcomers alike.

Review: Originally released in 1982 via Earache Records (who're also handling this long overdue reissue), The Ultimate Incantation marked the debut full-length from Polish death metal pioneers Vader. Originally recorded at Sunlight Studio in Stockholm, Sweden with Thomas Skogsberg, both the band and label were ultimately unhappy with the final mixes due to their admitted lack of studio equipment, especially the studio's in-house electronic drumkit which simply could not handle the barrage of blastbeats, leading them to relocate and re-record the album in its entirety at London's Rhythm Studios with producer Paul Johnson. Whilst commended upon release for the band's technical proficiency that helped guide the extreme metal movement, some critics found the desired raw recording quality as too abrasive to truly enjoy, but those critiques have become somewhat redundant over the decades with any extreme metal act worthy of the term and the scene as a whole prioritising raw intensity over studio gloss.

Review: Just in time for the spooky season, the wonderful Numero has put together another of their famously good compilations. This one, Haunted Presence (which comes on lovely 'ghost power' silver vinyl) is packed with Halloween treats from across the label's vast span. It takes in ghoulish garage rock like Slim Martin's 'Haunted After Midnight', skeleton-rattling soul like Bambi Fodera's 'The Moon Turned To Blood' and some proto-metal mutations like Medusa's 'Unknown Fear' as well as haunting 60s rock like Angela Alexander & JD. Saddler's 'Don't Make Me Kill You' across 20 tracks that will enliven any seasonal get-together.

Review: Celebrating their 20th anniversary the only way a label knows how, Red Scare Industries: 20 Years Of Dreaming And Scheming offers up 17 new cuts from current acts, alumni and long defunct bands who had it in their aging punk hearts to reform for one last blast around the sun. Boasting contributions from the likes of The Menzingers, Laura Jane Grace (Against Me!), No Trigger, Cobra Skulls and Elway, to name just a small handful, this is a compilation covering almost each and every cornerstone of modern punk from the emo to the hardcore to the unashamed pop-centric ditties. And as the label themselves point out, the only place you'll ever be able to cop these tracks is right here, right now (or whenever payday rolls around again).

Review: A box office flop at the time of its release in 1995 - only recouping around $6million of its $25million budget - Tank Girl has since become a cult classic of the post-apocalyptic science fiction canon. Popularised thanks to its strong feminist messages and vivid construction of a universe, the foundations of which were found in a comic book series of the same namer, the soundtrack is both of its time and every bit as high impact as the flick. From Bjork's moody and abrasive 'Army of Me', to the disrupted lo-fi rock & roll of Hole's 'Drown Soda', Ice T's typically snarling and sinister 'Big Gun', and the trip hop landmark 'Roads' by Portishead, the credits read like a who's who of 1990s cool. And this emphasises just how on point Tank Girl was, even if we didn't all seem ready to acknowledge it back then.

Review: Out of print for over 15 years, the Soul Jazz distributed Do It Yourself compilation offers up a bevy of both essential and niche acts from the realms of punk, post-punk, punk-funk, dance-punk and even further afield electronic experimentations where the term "punk" becomes utterly redundant. All UK artists recorded between the late 70s and 80s, the collection sonically details the aftermath of the British punk movement in real time, complete with legacy names such as Buzzcocks, A Certain Ratio and The Last Gang to Red Lorry Yellow Lorry and even Throbbing Gristle. Housed in a gatefold sleeve and spread across translucent orange vinyl 2xLP, the collection has been fully remastered and features extensive sleevenotes and photography as well as interviews with key behind-the-scene players, providing a unique insight into just how much the landscape of independent music changed after the advent of punk.

Review: Secret Superstar Sounds, courtesy of Soul Jazz, offers an eclectic and excellent collection of oddball punk and powerpop rare cuts from little-known bands from the late 70s, including but not limited to The Squares, The Meanies, The Monitors, Plummet Airline, and Krypton Tunes. Falling between the cracks of punk, new wave and post-punk, these unfairly overlooked and forgotten to time gems came from a slew of DIY ethos purists inspired by the messaging of bands like The Desperate Bicycles, Sniffing Glue fanzine and early UK punk labels like Stiff, Chiswick and Rough Trade, recording everything in-house, then sending their recordings to the likes of John Peel and labels with hopes of some airplay or recognition, little of which came. A long-lost micro-genre of unfairly forgotten underground punk (but not punk) gems awaits.

Review: The follow up to Newcastle metal icons' stellar debut, Welcome To Hell, is often regarded as one of the quintessential extreme metal contributions, even to this day. Venom would meticulously craft their sophomore effort, with vocalist/bassist Conrad Lent working overtime to mix the tracks, utilising his engineering experience in an attempt to keep costs low while also maintaining full creative control. The end result was Black Metal, a ferocious onslaught of unprecedented technicality, satanic imagery and malevolent atmosphere. It's no small secret that the project is all but directly linked, cited and blamed for the resulting Norwegian black metal genre that would slowly take decrepit shape in the late eighties before plaguing the nineties with as many controversial news articles as it did seminal albums. Even the infamous artwork has become synonymous with the genre as an entity, while the hyper-aggressive, unsettling form of speed-thrash the tracks exude, still stands tall and bold as the intrinsic signifier of the metal scene as a whole, on a deathmarch into uncharted, undiscovered realms of extremity in 1982. Four decades on, this anniversary edition serves as credence to the birth of all modern forms of extreme metal.

Review: There's a good reason that the Viagra Boys' latest album is self-titled. Unlike their previous album, 2022's satirical, politically-charged Cave World, the Swedish post-punkers' latest set is lyrically far more introspective, with frontman Sebastian Murphy offering (in the band's own words), a "self-deprecating exploration of his own absurdity" (or, in the case of opener 'Made of Meat', "your mom's Only Fans"). Musically sitting between energetic, horn-heavy early 80s post-punk and grunge-fired US alt-rock - with occasional nods to more tropical and melody-driven flavours - the album is heaps of fun with strong songs aplenty, not least the jaunty 'Pyramid of Health', the low-slung, synth-sporting 'Waterboy' and the surprisingly pastoral 'River King'.

Review: Many months on, Record Store Day Black Friday 2023 continues to serve up treasures and the latest is
VIRULENCE's If This Isn't A Dream album. It's a wild ride through atmospheric soundscapes and haunting melodies that immerse you in a dreamscape of ethereal textures and pulsating rhythms, blending elements of ambient, electronic, and experimental music. Each track unfolds like a surreal exploration of the subconscious, inviting introspection and contemplation with intricate layering of synths, evocative vocals, and intricate percussion. Both hypnotic and transcendent, If This Isn't A Dream is a captivating trip that is well worth hearing for fans and newcomers alike as it transports to a realm where reality blurs with imagination.

Review: Originally released in 1986 during their formative Noise Records era, Rrroooaaarrr would serve as the sophomore follow up to Canadian progressive metal legends Voivod's debut album War & Pain, whilst offering the first true glimpses into the more spacy cosmic compositional approach that would ultimately become their new sonic bedrock. While perhaps not at the level of prog wonder that has elevated 1987's Killing Technology to a much-adored fan favourite, the material on their second effort works as almost a bridge between their speed-thrash origins and the more fully realised vision their later material would harbour. While flashy and intricate, this early work is a testament to how formidable of a straight up thrash metal beast the band originally were before they would opt to distance themselves from their burgeoning peers in Metallica or Megadeth; marking the true beginning of their journey into the great unknown (also referred to as "space-prog").

Review: Canadian sci-fi-tinged prog metal auteurs Voivod originally unveiled The End Of Dormancy EP in 2020, with this "ocean blue" reissue from Brutal Panda sprinkling extra aesthetic weight to the title-track's nautical tale of a mysterious entity leagues beneath the sea. Originally a cut from 2018's critically acclaimed The Wake, this EP version offers a unique "Metal Section" take, almost a full minute longer with added trumpets, saxophone and trombones, whilst the B-side features a live rendition of the epic piece as well as the iconic opening track from the band's seminal 1989 prog-thrash masterpiece Nothingface - 'The Unknown Knows', both performed at the Live Montreal Jazz Fest 2019.

Review: Originally released in 2015, Inmazes marked the debut full-length from Danish progressive metal outfit VOLA. Taking sonic influence from the Djent scene pioneered by Meshuggah and further popularised by acts such as Periphery, yet eschewing much of the metalcore aspects prevalent within the subgenre, the material draws as much from Scandinavian prog metal acts such as Opeth and Katatonia, only fitted with seven string guitar low-end grooves and chunky riffage, making for a curious combination of progressive artistry and Djentcore heft, all unified under the saccharine, almost shoegaze lilt of primary songwriter Asger Mygind's understated vocal delivery. While the band would stray further into melodic, synth-laden prog soundscapes on 2018's sophomore follow up Applause Of A Distant Crowd, this debut where is they let their Djent flag fly as high as the influences worn on their sleeves.