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Back catalogue: Indie/Alternative
Juno's full catalogue of Indie/Alternative
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Review: Being a 'supergroup' - as Boygenius trio Julien Baker, Phoebe Bridgers and Lucy Dacus are commonly described - has its pitfalls, one of which is finding time to record and promote your music. It was for this reason that it took the threesome almost five years to record their debut album, The Record, which was released to critical acclaim (the NME called it an 'instant indie classic') earlier this year. The fact that 'The Rest', an EP of unheard songs (literally - no previews were available online prior to release), has followed so quickly suggests that it was recorded at the same time. Either way, it was produced by the band alongside a team of six producers) and delivers more memorable songs in their now familiar American indie-rock style. A treat for fans, all told.
… Read more in stock $10.83
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Review: Described by their label, Dais, as "a stirring new chapter" in their musical story, 'An object of Motion' has its roots in a coastal break main man Deb Demure made back in 2021. It was material recorded there, largely using a vintage, bowl-shaped 12-string guitar, that formed the basis of the four-track mini-album. These recordings were then expanded on with help from collaborators Rachel Goswell (Slowdive), Justin Meldal-Johnsen and Ben Greenberg. It's a decidedly psychedelic set all told, with Demure and company blurring the boundaries between neo-folk, psychedelia, the Cure, shoegaze and the sort of saucer-eyed, turn-of-the-90s bagginess associated with the Stone Roses. Most impressive of all, though, is 'Yield To Force', an undeniably cosmic, layered and effects-laden instrumental that ebbs and flows over 15 magical minutes.
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Review: First released on streaming platforms last summer, Wilco's 'Hot Sun Cool Shroud' EP was uniformly praised by critics. Much more than a stop gap between albums (it arrived roughly 12 months after the outfit's lauded 13th studio full-length, Cousin), the six-track set bristles with inventiveness while flitting between styles and tempos. So, opener 'Hot Sun', a sticky slab of Americana-tinged jangly indie brilliance, is followed by the reverb and solo-laden alt-rock squall of 'Livid' and the gentle, string-laden swoon of 'Ice Cream'. And so it continues, with the fuzzy positivity and weary vocals of 'Annihilation' being joined by the pleasant, impossible-to-pigeonhole experimentalism of 'Inside The Bell Bones' and the twinkling, heartfelt melancholia of 'Say You Love Me'.
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アルバム
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Review: In 2020, Ryan Adams released Wednesdays, an album up there with Neil Young's greatest stuff. It's cinematic with the full throttle rock of his previous album, Prisoner, dimmed down. It was an Americana album with his rock DNA still on show. Another Wednesdays takes a step further into classical and baroque pop territory, allowing the beauty of his lyrics to shine on a different canvas. Hearing tracks such as 'I'm Sorry And I Love You' underpinned by lush strings and piano with little else emphasises the power and majesty of his lyrics. Adams has long proved himself as one of America's all-time great songwriters, but to hear him push himself with the arrangements in genres that he's less familiar with, but still achieve greatness, shows that he's on another level to most.
… Read morePlayed by: Juno Recommends Rock/Indie
in stock $12.77
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Review: After nearly two decades of anticipation, Ryan Adams has finally unveiled a long-awaited, cult-classic album on CD. Initially shelved due to his battles with addiction, the album captures the raw, unfiltered emotion that defined his tumultuous period. With tracks like 'Catherine', previously only performed live, and unreleased material now officially available, it's a revelatory listen for fans who have long speculated about its contents. The album's haunting, fragmented qualityireflecting Adams' state during its creationiadds a compelling layer of authenticity. While some of the raw vocal takes are intentionally rough, the end result is an evocative and beautiful snapshot of a chaotic creative period. This release not only satisfies years of fan demand but also reclaims a pivotal moment in Adams' career, offering a glimpse into his darkest and most vulnerable creative space.
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Review: 2024 ushers in a brand new Barry Adamson album, Cut To Black, marking an exciting new shift in direction for the utterly singular Nick Cave associate and experimental blues-pop musician. Cut To Black, led by the swaggeringly roomy 'Demon Lover' (perhaps nodding to the great corporate espionage film of the same name, in due keeping with Adamson's love for spy thriller soundtracks, and his incorporation of their sound into his music), the record embraces his trademark genre-hopping proclivity, spanning pop, soul, jazz, hip-hop and gospel. A totally unique LP for the present era, Adamson's latest oeuvre topup is a must-have for fans of all things Cinematic Soul, Nick Cave & The Bad Seeds, Post Punk, Massive Attack, Unloved and more.
… Read more in stock $12.21
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Cat: IARC 90CD. Rel: 06 Mar 25
Review: Alabaster DePlume's latest album is a meditation on self-worth and healing, drawing from his poetry book Looking for My Value: Prologue to a Blade, he crafts 11 tracks that feel deeply personal yet universal. His saxophone, sometimes fluid, sometimes jagged, acts as both voice and emphasis on the likes of opener 'Oh My Actual Days' swells with sax and Macie Stewart's ghostly strings, a slow march toward reckoning. 'Thank You My Pain' turns its mantra-like refrain into a rhythmic meditation on discomfort. 'Invincibility' lifts into choral release, a breath after holding under water. The instrumental 'Prayer for My Sovereign Dignity' is an anthem for self-possession, while 'Form a V' channels the discipline of jiu-jitsu, inviting confrontation. Unlike his past, more improvisation-led works, this is tightly composed, arranged and produced by DePlume himself - and the result is direct, unflinching and deeply felt.
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Review: Japanese folk singer-songwriter Ichiko Aoaba has built up quite a catalogue of albums and singles since making her debut 15 years ago, subtly expanding on her sparse acoustic sound via the use of effects, strings and other instrumentation associated with the British folk revival of the 1960s. On Luminescent Creatures, her first studio album for five years, she continues this quiet expansion of her trademark style, underpinning her gorgeously sweet and emotive, intricately arranged lead vocals with a mix of acoustic guitar, strings, piano, field recordings and traditional Japanese instruments. The results are breathtakingly beautiful and deliciously dreamy, with highlights including 'Flag', the inspired 'Luciferine' and the haunting swell of 'SONAR'.
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Review: On her fifth album, and first new set since 2012, Fiona Apple has not so much torn up the rule book but cremated it and scattered the ashes over a wide distance. Where once she concentrated on delivering melodic songs inspired by the greats of 60s and 70s rock and pop, "Fetch The Bolt Cutters" sees her craft instinctive rhythms and bluesy musical backdrops out of all manner of found sounds and home recordings (including, somewhat bizarrely, the barks and woofs of five different dogs). Throw in sharp lyrics delivered in a mixture of screams, sweet singing, freestyle improvisation and rapping, and you have a wildly original and hugely enjoyable set that defiantly showcases the artist's new-found experimental credentials.
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Review: The latest offering from serial collaborator and cross-genre tastemaker Stephen O'Malley's Ideologic Organ imprint is a tender filigree bureau of acid folk sketches from Tokyo's Ai Aiso. Across seven tracks, she patiently meanders through broken and phased chord progressions, her simultaneously pure and wavering vocal lines forming elegant arcs over sparse beds of instrumentation and washes of room tone. Some tracks are bookended by applause, and it is this ostensibly 'indoorsy' atmosphere which lends the mini LP a great deal of charm; the delicate atmospherics seem to issue from an intimate and isolated space. Indeed, Bandcamp user Everyvillianislemons317 describes it as "The perfect album for a lonely night in the city." We're more than inclined to agree.
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Review: You may already know 22-year old Norwegian pop singer Aurora Aksnes for her rendition of Oasis' "Half the World Away" for a John Lewis Christmas advert in 2015, but if not, she's the biggest thing since Robyn. This latest record, following A Different Kind Of Human (Step 1) from last year, presents a third album to date and one that forms the second part of last year's surprise release. Fast-paced, hopeful, dancey and nordically folkal music, (Step 2) sees Aurora deliver something more experimental than before with its themes said to focus on ecological crisis and societal concepts of individualism. Syncopated basslines, staccato vocals and criss-crossing rhythms hit all the right spots in "Apple Tree" while our other pick "In Bottles" combines '90s pop sensationalism with breakbeats made to fit house tempos. Tip!
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Review: Although it was reportedly recorded in a "cabin in the woods" and fuelled by "nights listening to the Grateful Dead", Venezuelan-American singer-songwriter Devendra Banhart's latest album is a far more drowsy, dreamy and immersive affair than you might expect. Produced by label-mate Cate Le Bon (who also contributed instrumentation), Flying Wig somehow sounds contemporary despite being rooted in a mix of the woozy sound-worlds of Brian Eno, Peter Gabriel's more downbeat mid-80s moments, classic sixties folk-rock and the kind of heart-aching, country-tinged AOR ballads that were once a feature of late-night AM radio. It's beautiful and beguiling, basically, and never wavers from its distinct sonic blueprint.
… Read more in stock $11.66
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Review: Following a few years spent focusing on his ambient, drone and instrumental shoegaze focused GLOK project, former Ride man Andy Bell has finally got round to recording a new album of songs. Titled Sonic Cathedral, the album is undeniably nostalgic in tone, not only reacalling the jangly and sonically dense days of shoegaze and jangly indie-pop, but also the funkier and more intoxicated indie-dance records of that period (think Weatherall productions and remixes of the period, the Stone Roses and - whisper it quietly - Candy Flip). It's a bold and hugely enjoyable blend, with Bell sashaying between the tactile, Spiritualized-ish 'The Notes You Never Hear', the krautrock-goes-funky flex of 'Space Station Mantra', the Beck-esque 'Music Concrete' and the Tony Allen/Afrobeat-influenced 'Apple Green UFO'.
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Review: Since they emerged in 2019, there's been a fair amount of hype around Black Country, New Road, with one noted media outlet calling them, "the best band in the world right now". While that might be a little over-the-top, there's no doubting that they're a unique proposition - as this much-anticipated debut album on Ninja Tune proves. Stylistically, they're hard to pin down, variously fusing post-punk guitars, fuzzy Stereolab synths and folksy strings with thoughtful, story-telling spoken word vocals (think Arab Strap), restless bass guitar and drums and sax sounds that have more in common with the more experimental end of jazz than alternative rock. It's an usual mixture, but a hugely alluring and surprisingly coherent one. For The First Time is, then, a genuinely impressive debut album.
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Review: Every once in a while, you get a band emerge from the vibrant London music scene that you notice aren't like all the other bands. You sense they have something a bit special. BC, NR are like that - they offer something so rich musically that it appears immune to any potential threat that could come from changing trends. This third studio album of theirs comes under what looked like difficult circumstances from the outside. Their lead singer and songwriter Isaac Wood left the band shortly before the release of their second album. But they've withstood the pressure incredibly and are on top form here. There's more emphasis than ever on sharing the role of frontperson so the album is like a smorgasbord where you sample different voices and songwriting styles that exist within the group. Lead single 'Besties' is violinist Georgia Ellery's. It thrives off of its dynamism with explosive Phil Spector-esque wall of sound moments set in alongside elegant indie folk. A truly massive chapter awaits.
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Review: During recent interviews, James Blake framed Playing Robots Into Heaven, his sixth album, as a kind of return to his club roots - an idea borne out by his decision to structure the album as a kind of imaginary "night out raving". Of course, this is Blake we're talking about, and while the album does lean heavily on the post-dubstep sound that made him famous (which itself drew as much from experimental electronica and outsider pop as dubstep, house or techno), it's not like he's suddenly turned into Ben UFO, Scuba or Mala. It's a highly enjoyable album, though, and one that combines his most familiar and cherished elements - heavily treated, emotive vocals, piano motifs, woozy electronics and ghostly chords - with grooves rooted in techno, house and UK bass. If you're a fan, you'll love it.
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Review: Dean Blunt is nothing short of an enigma. Whether you're reading one of his interviews of few words, listening to the records that seem to both celebrate the avant-garde and obsess over it, or watching him descend into strange, otherworldly cacophonies on stage, usually shrouded in smoke, he's never really been an easy guy to pin down. And that's exactly what he's always been going for.
It's something of a surprise, then, to learn that Black Metal 2, the long-awaited, seven years in the making sequel to his critically acclaimed Black Metal, is actually pretty straight forward. In a Dean Blunt kind of way. Opening on the compressed strings and near-spoken word of 'Vigil', the record takes us into the deep dark depths of strange, hook-fuelled guitar poetry, and we never want to find our way back.
… Read moreIt's something of a surprise, then, to learn that Black Metal 2, the long-awaited, seven years in the making sequel to his critically acclaimed Black Metal, is actually pretty straight forward. In a Dean Blunt kind of way. Opening on the compressed strings and near-spoken word of 'Vigil', the record takes us into the deep dark depths of strange, hook-fuelled guitar poetry, and we never want to find our way back.
in stock $12.50
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Review: It has been some five-plus years since the last full Bon Iver album but the wait has been well worth it. This one follows the introspective SABLE, a sparse, vulnerable EP born from isolation and inner turmoil. Where that was shadow, this is light-a lush, radiant celebration of love, connection and emotional rebirth. Written at April Base in Wisconsin with collaborators like Jim-E Stack and Danielle Haim, the album leans into clarity and intimacy and gets rid of the signature dense abstraction for more honest and heartfelt pop. The vocals are delivered with openness and purpose as they explore desire, hope and devotion. While still acknowledging lingering shadows, this full-length is a story of growth that isn't about fairytale endings, but about the lessons love teaches.
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Cat: RT 0434CDX. Rel: 08 Feb 24
Review: British Sea Power's Do You Like Rock Music? is a triumphant exploration of anthemic rock soundscapes. Released in 2008, the album captures the band's distinctive blend of indie rock, post-punk, and art-rock influences. The tracks unfold with a dynamic energy, featuring soaring guitar riffs, atmospheric arrangements, and emotionally charged lyrics. Standout songs like 'Waving Flags' showcase their ability to create powerful, stadium-worthy moments, while the album as a whole exemplifies British Sea Power's penchant for crafting a cohesive sonic journey. As such this record solidified the band's reputation for delivering ambitious and compelling musical narratives, and this deluxe version contains an additional ten tracks culled from radio sessions and B-sides.
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Review: Spell Blanket - Collected Demos 2006-2009 by Broadcast offers a rare glimpse into the creative process of Trish Keenan and James Cargill during the post-Tender Buttons period. This compilation features songs and sketches drawn from Keenan's extensive archive of four-track tapes and MiniDiscs, laying the groundwork for what would have been Broadcast's fifth album. The recordings showcase the duo's experimental approach to music-making, with Trish and James exploring new sonic territories and refining their distinctive sound. The photography used in the artwork is captured by Trish and James themselves, adding a personal touch to the collection. Designed by Broadcast's long-time collaborator Julian House, the artwork complements the nostalgic yet forward-thinking nature of the music.
… Read morePlayed by: Juno Recommends Rock/Indie
in stock $14.71
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Butler Blake & Grant (CD)
Cat: 355REC 2CD. Rel: 27 Mar 25
Review: If any album comes close to the beauty of Crosby, Stills & Nash in 2025 it's this. It's difficult to imagine anyone else nailing melodic, acoustic guitar-oriented music that treads in gospel, blues and pastoral psychedelia better than this supergroup. Could Bernard Butler be on his way to another Mercury Prize nomination with this? They've got a strong case for it. The band itself is something a little different and formed by popular demand. Norman Blake (Teenage Fanclub) Bernard Butler (Suede) and James Grant (Love and Money) originally got together for one occasion, at Saint Luke's in Glasgow in 2022 for Celtic Connections, but the power of them together was so great they've been talked into putting an album out. They've gone about it in quite a pragmatic way, with each member labelling which songs theirs, as opposed to all trying to write the same song at the same time. Makes sense really.
… Read more in stock $13.31
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Cat: BBQ 2647CD. Rel: 07 Nov 24
Review: On its original release in 1994, Up To Our Hips marked something of a sonic departure for the Charlatans. Heavily influenced by Mod and psychedelic music of the 1960s, it saw Tim Burgess and company push organs to the fore, more densely layer their guitars, and develop a nostalgic "Britpop" sound fully in keeping with the nostalgic 'Cool Britannia' vibes of the era. 30 years on, it remains one of their strongest and most entertaining 'classic' albums - as this fully remastered and expanded reissue proves. This time round, the original album is backed by 10 additional cuts - a mixture of rarities, B-sides, demos and live recordings. It should be seen as the definitive version of one of the band's standout moments.
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Review: Chime School main man Andy Pastalaniec may hail from San Francisco, but his brand of bright, breezy and densely layered "jangle pop" arguably owes more to British indie and alternative of the 80s and 90s than the psychedelic rock that his home city has long been renowned for. While undoubtedly nostalgic and reminiscent of a more wide-eyed age - think nods to Johnny Marr, shoegaze, early Blur releases, Teenage Fanclub and so on - it's a fully-formed and genuinely baggy sound that's impeccably realised and genuinely impossible to dislike. The Boy Who Rain The Paisley Hotel is the second Chime School album - a self-titled debut set dropped three years ago - and further fleshes out Pastalaniec's retro-indie sound with the help of a clutch of genuinely memorable songs and future indie club singalongs.
… Read more in stock $13.05
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Review: Under the Clairo alias, Claire Cottrill has achieved cult status in recent times, with her lo-fi take on indie, alternative and dream-pop finding on audience on both sides of the Atlantic. The Boston-based singer-songwriter continues her ascent from the musical margins on Charm, her first album for three years. It's a hugely atmospheric and emotive affair, with Cottrill languidly shuffling between subtly country-tinged lo-fi indie-pop (the semi-acoustic warmth of 'Nomad'), late '60s-inspired dream pop, gentle psychedelia and loose-limbed, surprisingly funky haziness smothered in rubbery bass guitar, vintage synth sounds and heady horns ('Sexy To Someone'). And yes, it's an undeniably charming affair.
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Combat Rock/The People's Hall (Special Edition) (2xCD with obi-strip)
Cat: 194399 68552. Rel: 20 May 22
Review: 1982's seminal fifth and final album from the classic lineup of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon needs little introduction, but will now receive some additional sonic context in the guise of 'The People's Hall.'
Compiled by the living members of The Clash, this expanded edition features 12 previously unreleased rarities and outtakes including a version of 'Know Your Rights' recorded at The People's Hall on The Rolling Stones' Mobile Studio.
Offering greater insight into the recording, demoing and ideas process behind arguably the last definitive Clash album as well as one of the all time punk-rock greats, these additions are essential for any true Clash cultist.
… Read moreCompiled by the living members of The Clash, this expanded edition features 12 previously unreleased rarities and outtakes including a version of 'Know Your Rights' recorded at The People's Hall on The Rolling Stones' Mobile Studio.
Offering greater insight into the recording, demoing and ideas process behind arguably the last definitive Clash album as well as one of the all time punk-rock greats, these additions are essential for any true Clash cultist.
in stock $13.31
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Review: Change lies at the very heart of "Carousel", the third and perhaps most-eagerly anticipated Clock Opera album to date. After all, it has been a long time coming. Spurred on by the personal experiences of Guy Connelly, if you're looking for something to buy loved ones as they enter parenthood for the first time, this may be it.
That's not a reference to dad rock or housewife pop. In the grand scheme of electronic music this is certainly at the safer end, informed by Brian Eno's ambience or "Homogenic"-era Bjork as much as sprawling, classically-informed science fiction. But it's anything but throwaway. Instead, it's the overarching themes that mark this one out as the ideal gift for those in periods of great transition. It looks at the challenges of newfound fatherhood, considers sacrifices necessary to alter behavioural patterns and asks what identity really means. Profound stuff.
… Read moreThat's not a reference to dad rock or housewife pop. In the grand scheme of electronic music this is certainly at the safer end, informed by Brian Eno's ambience or "Homogenic"-era Bjork as much as sprawling, classically-informed science fiction. But it's anything but throwaway. Instead, it's the overarching themes that mark this one out as the ideal gift for those in periods of great transition. It looks at the challenges of newfound fatherhood, considers sacrifices necessary to alter behavioural patterns and asks what identity really means. Profound stuff.
in stock $13.88
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Cat: 4AD 0642CD. Rel: 22 Aug 24
Review: The Moon and the Melodies, a remarkable collaboration between Cocteau Twins and ambient pioneer Harold Budd, remains a standout achievement in both artists' repertoires. First released in 1986, this enchanting album is now receiving a well-deserved vinyl reissue, meticulously remastered by Robin Guthrie from the original tapes. This album is a stunning fusion of the Cocteau Twins' signature dreamlike atmospheres with Budd's elegant, improvisational piano, resulting in a listening experience that is both expansive and deeply personal. The blending of Elizabeth Fraser's ethereal vocals, seamlessly intertwined with Guthrie's luminous guitar work and Raymonde's resonant bass, creates a sound that is both distinct and evocative. The album effortlessly balances vocal tracks with instrumentals, each adding to its rich and diverse sonic palette. This reissue offers a chance to rediscover a defining moment in the evolution of dream pop and ambient music. The Moon and the Melodies continues to stun audiences. This CD edition is the perfect vehicle to an ethereal beauty of the highest order.
… Read more in stock $12.21
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Review: As the playful title suggests, Transmission Impossible brings together a trio of Coldplay concert recordings which were originally captured for radio broadcast. CD1 takes us back to 2007 and a set from Buenos Aries heavy on early classics ('Yellow', 'Clocks', 'God Put a Smile On My Face', 'Fix You' etc.), while CD2 finds the Winchester band at UEA in Norwich in 2011, performing said classics alongside more tracks that turned them into global indie-pop superstars ('Mylo Xyloto', 'Viva La Vida'). Disc three, the most recent performance of the lot, dates from 2016 and includes, amongst its numerous highlights, soaring, stadium-sized takes on 'Paradise', 'Hymn for the Weekend' and Leonard Cohen classic 'Suzanne'.
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Review: 'Girl Like You' hitmaker and former Orange Juice frontman Edwyn Collins has written some absolute corkers in his time and against all the odds - he's been through the wars with his health - is on life-affirming form still. This is his tenth solo album and, like his previous album Badbea, it was recorded in the beautiful Clashnarrow Studios in the Highland village of Helmsdale. The setting clearly a productive space as there's tunes on here that sit right up there with Collins' best work. 'The Heart Is A Foolish Little Thing' is a masterpiece so good it will likely either inspire budding songwriters or make them give up because they know that's the level to get to and it feels untouchable. 'Strange Old World' is another standout, with a bit of a darkly atmospheric Tarantino vibe. And ' The Mountains Are My Home' delves into more traditional folk and feels incredibly heartfelt, like we're being welcomed into Collins' home for tea.
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Cat: BAY 104CDX. Rel: 23 Aug 17
Review: If you missed The Comet is Coming's brilliant debut album, Channel The Spirits, first time around, help is at hand. Happily, the Leaf label has decided to reissue the Mercury Music Prize nominated album, expanding it to two discs via the addition of 2015's similarly sublime Prophecy EP and a trio of previously unheard wig-outs. The genius of the London combo's music lies in their unique and eccentric approach to musical fusion. While their roots lie in fusing spiritual jazz and freaky psychedelic rock, keen listeners will hear a myriad of other influences and inspirations seeping into their distinctive instrumental compositions, from spiraling electronica, Afrobeat and skewed funk, to ambient, dub, drum and bass, Roots Manuva and low-slung industrial funk.
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Review: Confidence Man's third album, 3AM (LA LA LA), captures the wild energy of London's club scene and the 90s rave culture, blending euphoric dance beats with a darker undercurrent. Written during late-night studio sessions, the album pulses with breakbeat, trance, and techno influences, pushing their sound into bolder, more intense territory. Tracks like 'I Can't Lose You' and 'So Whay' hit with fierce, rave-ready energy, while vocalist Janet Planet's playful lyrics echo the spontaneity of a night out. The group's penchant for theatricality and fun comes alive in their live shows, full of synchronised dance moves and chaotic party vibes. Compared to their lighter 2022 album Tilt, 3AM (LA LA LA) is a wilder, harder experienceia hedonistic celebration that reflects the delirious, sweaty-ceilinged clubs. It's Confidence Man at their boldest, offering an electrifying escape.
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Review: This is ex-Teardrop Explodes frontman and cult hero Julian Cope's third record in as many years - he's operating at the speed that a lot of 60s/70s psychedelia artists that he was inspired by were and, in turn, making everyone else look a bit lazy. As a songwriter his satirical and absurdist sense of humour shines through; he makes you laugh as often as he makes you want to tap your foot and sing-a-long. And the uniqueness of his personality shines through with countless witty lines. A case in point is the brilliant "They ruined my Subbuteo and made their escape / Four Jehovah's in a Volvo estate", which is talk/sung over a motorik beat replete with mind-bending mellotron. Elsewhere, the bedroom-glam rock album opener 'Too Freud To Rock'n'Roll/Too Jung To Die' is a brilliant takedown of someone who's seemingly wound him up on the internet. With tunes this good, long may the rebirth of Cope continue.
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Review: Manchester indie icons The Courteeners - second only to Oasis in their home city - treated fans to a retrospective promo run in 2023 after releasing the 15th anniversary edition of the album that made them stars: St. Jude. And they landed their first number one in the process. Riding off the back of that success, Liam Fray and co. have an album of all new songs for 2024 and have done it in tandem with the aid of a new generation of indie risers and more established names. This, their seventh studio album, is easily their most collaborative work to-date. Stone Roses-esque Aussies the DMA's, hotly-tipped indie pop singer Pixey, The Coral-backed singer Brooke Coombe were handpicked to be featured artists, while the likes of The Coral's Ian and James Skelly and Blossoms' bassist Charlie Salt are on the record too. One of The Courteeners biggest strengths is their ear for a hook that sticks and in this respect listeners to the new album won't be disappointed. The single 'Solitude On The Night Bus' is a major case in point. It will have you whistling it long after it's stopped playing. Elsewhere, 'The Beginning Of The End' is euphoric with soaring vocals and lush instrumental arrangements. Perhaps they've taken after the Coral in doing so but the introduction of steadier tempos and their nods to Phil Spector's wall of sound technique is something they wear well. Their best since St. Jude.
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Review: Cranes were a British alternative band formed in 1985. Long before the Dream Pop subgenre name came out, the band earned a cult following culminating in 1992 opening for The Cure on their Wish tour of America. Strangely, there catalogue has been mostly untouched as far as reissues are concerned. But, the news of a remaster and reissue is even better! Originally released in 1986, their debut album Fuse was a cassette only purchase and for 38 years it has stayed that way. Until now! Fans of shoegaze, goth, dream pop and indie should pick this up without question to hear how ahead of time the band's music was.
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Review: After a 16-year hiatus since 4:13 Dream, The Cure returns with the anticipated Songs Of A Lost World. The first single, 'Alone', marks a powerful resurgence for the band. Unlike the somewhat unfocused production of their last album, 'Alone' brings back the bold, expansive sound fans have longed for. It's a stunning track, filled with emotional depth and lush instrumentation, blending synth strings with chiming guitars. Robert Smith's voice remains as poignant and expressive as ever, defying time with its raw, emotive power. The song feels like both a return to form and a bittersweet farewell, hinting that this may be the band's swansong, while the five album songs trailed live in recent years, as swansongs go this is a hugely impressive one.
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Review: It's somewhat surprising to hear that this is Kim Deal's debut solo album, what with fellow college rock and grunge legends of the late 80s and 90s - such as her former Pixies bandmate Black Francis, Sonic Youth and Dinosaur Jr. members - putting out solo albums like there's no tomorrow; Deal, who is a member of The Breeders, has held her band mentality for the most part. The arrival of this album with her as the star on the cover, however, is even more intriguing because of the wait. And the resulting material is as assured in its slacker cool feel and as anything she has put her name to in her career so far and full of weird and scuzzy sounds that make it a feast for the ears. Deal's great taste in production is part of her winning formula, with the likes of Josh Klinghoffer (former Red Hot Chilli Peppers), Raymond McGinley of Teenage Fanclub, Slint's Britt Walford and the late Steve Albini all credited on this astounding record.
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Review: DIIV's fourth album, Frog in Boiling Water, is a haunting yet mesmerizing testament to the band's resilience and creativity. Produced by Chris Coady, the album emerges after a tumultuous four-year journey that nearly tore the band apart. Drawing inspiration from Daniel Quinn's The Story of B, the album explores themes of societal collapse under end-stage capitalism, symbolized by the metaphor of the boiling frog. The lead single, Brown Paper Bag, sets the tone with its intersection of dream-pop and post-rock, capturing the band's blend of dejection and angst. Throughout the album's ten tracks, DIIV navigate a musical landscape that balances rhythms built from breakbeats with ethereal guitars and vocals. Despite facing internal conflicts and external pressures, DIIV's commitment to creating meaningful art shines through on Frog in Boiling Water. Each song reflects the band's collective struggle and resilience, offering a poignant commentary on the precarious state of the world. While the album's creation was fraught with challenges, including personal struggles and creative differences, DIIV emerges stronger than ever. Frog in Boiling Water is a testament to the band's ability to confront adversity head-on and channel their experiences into music that is both introspective and evocative. With its haunting melodies and introspective lyrics, Frog in Boiling Water is a special addition to DIIV's discography, showing the band's evolution and maturation as artists.
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Review: Dislocation Dance come straight out of the traps with the opener 'I Just Need A Friend'. It takes Parliament-esque funk into the 21st century and is an injection of sheer joy. Trumpeter Andy Diagram earns his keep with his stunning playing on 'Sugar Coated', while 'We All Need Love' and 'Really Should Know Better' transport you to sunny climes. 'Sugar Coated' sounds like Beirut thanks to the trumpet-tinged sparseness and tender, intimate vocal performance. And 'Can't Come Back' mixes jangle pop with electronica to great effect. It's truly great to see the return of Dislocation Dance as they have great credentials, having released some of their early material on Rough Trade and the first punk indie label, Buzzcocks' New Hormones.
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Another Summer
Review: This demo sessions album is a real rarity - so if you were one of few to bag a copy first time round, you likely earned some jealous looks from fans. But since it's earned cult status as a jewel in their oeuvre through word of mouth, America's answer to Slowdive caved to popular opinion and made it more accessible with this first ever remaster job. This album takes it back to where it all began. Before signing to Caroline Records, Boston-based shoegazers took a leaf out of the punk DIY handbook and handed out this collection on cassette at gigs around London and posted it to labels. 4AD picked up on it and handed the cassette to the Melody Maker, where critics swooned and sparked a feeding frenzy for their signature. And for good reason: despite being less produced than their albums proper, the muddier mixes have a murky, hypnotic edge. Of the songs here 'Song For J.J.' is exhilarating with its unsettling, apocalyptic atmosphere. And 'Daymom' is the audio equivalent to being stood on a windswept Arctic tundra - dark, desolate beauty to its core. Many bands will come and do their best Drop Nineteens impression with the nu-gaze movement in full swing, but the 'Teens had something really special that can't be repeated.
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Review: British singer-songwriter Elderbrook is best known for the vocals on 2017's 'Cola', a Grammy-nominated single with CamelPhat, but now he shows a much broader range of sounds with his new album Another Touch which he bills as "a journey of personal discovery." It builds around themes of life's love, loss, ups and downs but essential is a collection of very accessible and feel-good dance-pop hits for large-scale clubs. The production takes the form of lots of catchy and melodic house and tech grooves while his vocals are a mix of falsetto and more moody sung-spoken deliveries. It's an album that very much chimes with the crossover dance sound of now.
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Review: Since turning his hand to music production midway through the last decade, XL Recordings owner Richard Russell has delivered a couple of predictably hard to pigeonhole, guest-packed albums as Everything is Recorded. Russell, of course, has an admirably bulging contacts book and as deep a knowledge of British music - be it hip-hop, grime, rave, jazz, experimental electronica or otherwise - as anyone. The depth of both is naturally evident on third album Temporary, with Russell and a dizzying list of guests delivering atmospheric, sample-rich fusions of head-nodding, hip-hop leaning grooves, field recordings-heavy sample collages, woozy dream pop, sub-heavy nods to UK bass, slow-motion neo-folk, blunted trip-hop, contemporary UK jazz, hazy Americana and much more besides. That it works as a coherent and sonically adventurous album is testament to Russell's increasing skill as a producer and standalone musical artist.
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Review: Sometime member of The Knife, Karin Dreijer, has excelled since they started delivering solo albums as Fever Ray. Sadly, releases have been rather thin on the ground, with 'Radical Romantics' - their third solo album - arriving almost six years after its predecessor. It has, though, been worth the wait, with the gender-fluid star unveiling a set of songs that consider love from a variety of angles - all while showcasing a musical style that takes glacial, off-kilter electro-pop in a variety of attractive directions. Highlights come thick and fast throughout, with our picks of a very strong bunch including 'What They Call Us', the mutant rhythms and sparkling, alien-sounding melodies of 'Kandy', and the future dancefloor rush of 'Carbon Dioxide'.
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Review: Barely out of her teens, Emily Sprague is in possession of a spare and reflective outlook more redolent of an artist thrice her age, and the creative process that led to 'The Birds Outside Sang' lent itself to reflection more than most - after a bike accident left her in a neck brace and unable to use her left arm, she used her period of convalescence to piece together this understated, deeply personal yet wryly pensive work, marked by a delicacy of touch and a frailly as charming as it is disarming. Think of it as a 21st century echo of Robert Wyatt's 'Rock Bottom' if you must, yet this is far more an affecting work from a unique new talent.
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Review: Fontaines D.C's Romance is their most ambitious and inventive album yet. The band's fourth studio effort marks their debut collaboration with producer James Ford and follows the success of 2022's Skinty Fia, which topped the UK and Irish charts. The lead single, 'Starburster,' showcases a dramatic shift in the band's sound. Inspired by frontman Grian Chatten's panic attack at St Pancras station, the track blends feral breaths, a propulsive beat, and shifting lyrical tones that transition from raw intensity to almost-psalmic introspection. Accompanied by a cinematic video from Aube Perrie, 'Starburster' highlights the album's cathartic and visceral edge. Romance reflects the band's evolution from their early punk roots to explore grungier breaks, dystopian electronica, and dreamy shoegaze textures. The album's title symbolises the band's journey from Irish-centric themes to broader existential explorations, influenced by diverse genres and experiences. With deeper, more spiritual undertones and a sonic palette that includes elements of hip-hop and heavy metal, Romance promises to challenge and expand the band's musical identity. Fontaines D.C. will support the album with a world tour, including appearances at major festivals like Glastonbury and Reading & Leeds.
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Review: Remarkably, the last Foo Fighters retrospective dropped way back in 2009, so this career-spanning 'best of' is undoubtedly well overdue. As a starting point for exploring their catalogue - or, for confirmed fans, having all the band's best bits in one place - The Essential Foo Fighters does an excellent job. There are naturally plenty of grungy, high-energy, guitar-laden alternative rock smashers present - 'Rope', 'Monkey Wrench' and so on - but also nods towards the more classic rock-orientated end of their work ('Cold Day In The Sun', the Beatles-esque 'Big Me'), punky and funky indie club anthems ('All My Life') and a smattering of acoustic and semi-acoustic gems ('Waiting On a War' and a wonderfully sparse, folksy take on 'Everlong'). Like Ronseal products, it does exactly what it says on the tin.
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Review: Recorded in the wake of drummer Taylor Hawkins death, Foo Fighters 11th studio album has been trailed as their "most personal yet". That's understandable, and lyrically Hawkins' tragic demise looms large - at times, the songs sound like the band going through the grieving process in public. It's a bold statement, with music - produced by long-time collaborator Greg Kunstin and featuring Dave Grohl on drums - that self-consciously references the raw energy, fuzzy riffs, and sweat-soaked energy of the band's 1995 debut album. Only time will tell where it sits in their catalogue - in terms of greatest moments, at least - but on first listen it's a raw, raging, melancholic alt-rock masterpiece.
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Review: Following a pair of well-received albums on Juicebox Recordings (not to be confused with A Guy Called Gerald's 1990s label of the same name), self-styled "nu-funk" duo Franc Moody have transferred to Night Time Stories for the release of new album Chewing The Fat. Like its predecessors, it blends a left-of-centre, Hot Chip style sensibility with colourful and nostalgic synth sounds, disco strings, good grooves and nods aplenty to both 21st century electronica and the Halcyon days of synth-funk in the 1980s. The results are frequently superb, with highlights including the throbbing-but-sparse 'Square Pegs In Round Holes', jaunty opener 'Driving On The Wrong Side of the Road' and the blissful, tactile and string-laden nu-disco bounce of 'Bloodlines'.
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Review: Astonishingly, seven years have now passed since the release of Franz Ferdinand's most recent studio album, the dancefloor-fired colour of Always Ascending. Reuniting the Glaswegian post-punk rockers with former mixer/engineer Mark Ralph (who this time steps up to produce), The Human Fear has been trailed as a kind of extended lyrical meditation on prejudice and fear. It's a notably grown up and musically varied affair, with opener 'Audacity' joining the dots between the jagged guitars and energy of the band's earliest recordings and the inventive, try-different-things arrangements made famous by the Beatles in their golden 1966-67 period. Compare and contrast this with Night Or Day', where fuzzy 70s synths and jangling piano riffs squabble for sonic space with metronomic drums and bass, and the fizzing nu-rave/indie dance revivalism of 'Hooked'.
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Cat: DAMGOOD 484CD. Rel: 22 Jun 23
Review: While The Galileo 7's records are all nostalgic by design - they specialise in making psych-pop and psych-rock that sounds so authentically 1960s that it should come with a Beatle wig and a free tab of acid - few are quite as heady, densely layered or hallucinatory as 2017's Tear Your Minds Wide Open. Here that album is given the expanded reissue treatment. Alongside all 12 tracks from the set - including the squally brilliance of 'The Mask', with its gnarled guitar riffs, Hammond stabs and elongated solos, and the Hendrix-esque 'Your Face Tomorrow' - you get eight bonus cuts. Expect a mix of instrumental mixes, alternate versions, band demos and home recordings.
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Review: Quebec City-based singer/songwriter Margaux Suave and collaborator/producer Louis-Etienne Santais earned plenty of praise for their first album as Ghostly Kisses, 2022's Heaven, Wait. It framed the project as a new iteration of dream-pop, with the pair drawing inspiration from melancholic synth-pop, downtempo, hazy indie-pop and lo-fi soul. Sophomore set Darkroom continues in this vein while subtly expanding the pair's sonic horizons. Throughout, they shuffle attractively between string-laden trip-hop ('There Is No More Space'), dreamy two-step pop ('Golden Eyes'), slow-motion, Balearic-tinged synth-pop ('Lonesome Hero'), twinkling deep house-pop ('Calm Down') and orchestrated ambient pop ('Silver Screen').
… Read morePlayed by: Juno Recommends Downtempo
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