Back catalogue: Rock (All)

Review: Rhino have embarked on a grand reissue mission and plan to put out all of the Echo & The Bunnymen's first four albums. Here we have a remastered version of Ocean Rain on 180-gram black vinyl. It was the fourth of the band's albums and was related back in 1984. It reached number four on the UK Albums Chart thanks to singles like 'Silver', 'Seven Seas' and personal favourite 'The Killing Moon.' The album got the band back to the top of their game after the rather less than warm reception to previous album Porcupine the year before thanks to its new found romantic sweetness and the band's bittersweet melodies.

Review: Echo & The Bunnymen's first ever best-of compilation, first released in 1985, gets a reissue. Accruing all the hits, we begin with the seminal 'Rescue' before careening through 'Never Stop', 'The Killing Moon' and 'Seven Seas', recalling the new wave band's emotive drawl and gushing instrumentals, coinciding with the time in which their contemporaneous album, 'Songs To Learn and Sing', was released.

Review: When Mark Eitzel first unveiled 'The Ugly American' there were a few murmurs about the fact this was his second album of non-original material, seizing on moments from his back catalogue with a revisionist's eye (or ear). But this was missing the point, a collaborative concept sees work written during his American Music Club era given an injection of new inspiration thanks to a group of Greek musicians he hooked up with. Bringing winds, reeds, bouzouki and mandolins, among other instruments, the result is transcendental and yet familiar, a folk-ish journey through the mythologised landscapes of southern Europe as seen through the outsider's gaze, with a culture clash at play thanks to the western indie pop foundations. The combination works effortlessly, with some moments of real ingenuity, and better yet it will sound great on 180g vinyl.

Review: Ammar El Sherei's intoxicating instrumental album Oriental Music was written in 1976 and has remained a cult classic for all the deep diggers, world music lovers and curio obsessives. For this record, the iconic Egyptian artist, composer and producer actually served up his own take on six classic compositions by another Egyptian legend, Mohamed Abdel Wahab. The results are utterly hypnotic and majestic melodic affairs with organic drums and percussion and North African melodies that worm their way deep into your brain and transport you to the hustle and bustle of a dusty open air market or street side coffee spot.

Review: Emahoy Tsegue-Maryam Guebrou is an Ethiopian nun known for her unique solo piano playing. For three decades she lived a reclusive life with only rare performances, including one at the Jewish Community Center in Washington, D.C. in 2008. Featured here are recordings sourced from the '60s of her truly captivating performances and are deservedly reissued by the Portland, Oregon based Mississippi/Little Axe Records. Featured here are all original compositions available for the first time on vinyl beyond the original early editions, said to be near impossible to find.

Review: In many ways, the debut solo album from Ed O'Brien could have sounded like anything - the Radiohead guitarist has been involved in plenty of sonic experimentations with that outfit, while comrade in arms Thom Yorke has managed to triumph both on the indie rock and electronic club music circuits, elements that could easily have found their way onto this record. The truth is 'Earth' doesn't really sound like Radiohead, or most contemporary electronic permutations. You could almost argue there is an air of nostalgia running through the release, certainly 'Shangri-La' feels that way, shades of Madchester and the great indie-dance crossover days are more than audible. From there we have lo-fi pop edginess ('Banksters'), the sweet and innocent acoustic job 'Long Time Coming', and the breathy, loose, broken and floaty 'Olympik'. In short, it grooves, grows, ebbs and flows in a way that shows a true master at work.

Review: By the time they released "Amplified Heart" in 1994, Ben Watt and Tracey Thorn had spent a decade churning out admired but relatively commercially unsuccessful "lite-jazz" albums. Then, on the back of a string of on-point club remixes (Todd Terry's chart-topping version of "Missing" included), the set surprisingly became a runaway success. To celebrate the album's 25th birthday, "Amplified Heart" has been given the audiophile reissue treatment. It suits the album's gently breezy, emotion-rich feel, with Thorn's evocative, lovelorn vocals perfectly matching Watt's sunset-friendly blend of acoustic guitars, soft-touch double bass, trip-hop style beats and Balearic-minded electronics. It remains one of the duo's greatest albums and should be in every discerning listener's collection.