Back catalogue: Rock (All)

Review: Jonathan Richman's 'Egyptian Reggae' has been setting discerning dancefloors alight since its release in 1977, during the golden era of punk. Known for its infectious rhythm, the track has seen a few reggae remixes over the years. However, it was time for something freshia playful yet respectful cumbia twist. Both genres share a certain groove, making them a perfect match, and it's easy to imagine DJs weaving these sounds together in their sets. This new take on 'Egyptian Reggae' has been recorded in Lima by Pancho Acosta, the founder and guitarist of Company Quinto, and one of Peru's finest cumbia guitarists. Acosta brings his expert touch to the track, transforming it into an upbeat cumbia gem. On the flip side, we're treated to one of Acosta's own originals, 'Carnaval de Jujuy', recorded by Austin-based future cumbia outfit Money Chicha. The song blends Peru's fuzzed-out early chicha sound with Money Chicha's unique, modern interpretation of the genre, delivering a fresh, captivating cumbia vibe.

Review: A new take on a Jonathan Richman classic from 1977 which has lit up clubs for 45-odd years, especially during the punk era. The track's infectious rhythm has inspired various reggae remixes but now it's getting a fresh cumbia twist. Cumbia and reggae share a common groove, making them a perfect match for DJs to mix and this one was recorded in Lima by Pancho Acosta, founder and guitarist of Company Quinto, who transforms the track into an upbeat cumbia gem. The flip side features Acosta's 'Carnaval de Jujuy' blended with Money Chicha's modern take on Peru's fuzzed-out chicha sound.

Review: The third volume of this series delivers an irresistible blend of funk and 60s-inspired grooves. Side-1 kicks off with a surf-rock-infused funk jam packed with energy and retro vibes. Following that, a swinging 60s sound that combining catchy rhythms and pop sensibilities keeps the momentum going. Side-2 shifts gears a groove-heavy track led by a soulful organ that oozes vintage charm. Closing the collection, there is a gem that features smooth, funk-driven melodies, topped off by a standout sax solo and a subtle British flair. This compilation offers a vibrant mix of styles, perfect for fans of classic funk with a modern twist.

Review: 'Beat Me Till I'm Blue' is a wonderfully funky classic by The Mohawks presented under the M Hawk alias, the Hawk in question being none other than KPM Music Library overlord Alan Hawkshaw, who wrote the themes from everything from Grange Hill to Countdown. It was a real cornerstone of the late-1960s library and soul-infused grooves of the sort that diggers still fawn over today, and sample fiends still search out. The track delivers Hawkshaw's distinctively driving Hammond organ riffs, tight drum breaks and irresistible rhythms, all of which have made it a favourite among DJs for decades. Two versions are served up here, one with the iconic horns and one with them stripped away, and both offer plenty of energy. .

Review: This is a special Record Store Day 2024 release that rights a wrong for hardcore Madness vinyl heads.
With the exception of 'Baggy Trousers,' 'Embarrassment' stood as the sole Madness single from the 80s not to receive a 12" release. This year's annual waxy celebrations however present a special opportunity to own it on vinyl as the classic Motown-inspired hit gets the coveted treatment as part of this six-track EP. Also included is the original 7" mix alongside a previously unreleased instrumental version meticulously crafted by Clive Langer, which offers fans a fresh perspective on this iconic Madness track.

Review: Said to be two decades in the making, this record features two tracks by Makode Linde, the visual artist and musician who has long been a friend and frequent cover designer for Sweden's most eccentric dance label, Studio Barnhus. 'Never Getting Over Me' features Makode's poignant vocals on a quirky, sun-drenched rhythm while 'Professional Help' delivers bossa nova brilliance with a graceful, flute-driven backdrop which reflects the protagonist's lament over his old flame's aversion to therapy. With exquisite songwriting and charming lo-fi appeal, these songs are brilliant dance-pop fusions with a great message and plenty of irresistible grooves.

Review: "There's nothing 'jazz' about it, really," says Stefan Goldmann, Macro Records boss and remixer on this 12", "Just raw energy, something like the album Jimi Hendrix would have possibly recorded if he had lived another year." Goldmann first heard 'Marbles' - from the legendary jazz guitarist and trusted right hand man of Miles Davis - when he was a teenager and it's remained a personal favourite ever since. This gorgeous piece of vinyl connects the 1970 original, an almost proto-techno swampy stomp wreathed in psychedelic keys and interstellar solos, with Goldmann's own exceptional remix on the flip. It's quite a listen, as Goldmann homes in on the original's bassline and its parallels with Giorgio Moroder's trademark disco juddering a few years, turning it into an irresistible techno session complete with cascading electronic drums, Buddhist bells and, of course, a McLaughlin riff churning over and over. We love music that joins the dots between genres and this does it in effortless, ludicrously danceable style. 'Marbles'? You'll lose yours when you hear this.

Review: Metronomy, esteemed purveyors of eclectic indie-electronic pop, open a new chapter with Posse EP Volume 2, out on Ninja Tune. Band founder Joe Mount steps into the role of producer, crafting musical worlds for new singers and artists. The EP's lead single, 'With Balance (feat. Naima Bock and Joshua Idehen),' showcases pastel-plucked guitars and hazy vocal lines, culminating in Joshua Idehen's powerful wordplay. This understated ballad is accompanied by a visually striking video produced by global creative agencies Wieden+Kennedy, Immigrant Studio, and Wake The Town. Mount comments on the video, 'It highlights new artists and ideas and allows me to enjoy it as a viewer.' Posse EP Volume 2 features collaborations with Miki, Faux Real, Nourished by Time, Lynks, SPIDER, Master Peace and TaliaBle. Mount reflects on the Posse EPs as a way to connect with new music and embrace their extensive career. This collaborative approach energises both artist and listener, making Posse EP Volume 2 a revitalizing addition to Metronomy's vibrant discography.

Review: The Mocambo label introduces Turkish artist Peki Momes who began recording music by chance in 2023. Despite no formal music training, she brings a fresh, authentic approach to groove music based largely on intuition. Her first two tracks reflect her versatility and feature here - 'Goc Mevisimi' combines Japanese City Pop with tropical boogie to create a global underground vibe with dirty disco grooves, jazzy flute and Turkish lyrics. 'Ruya' then delivers a gritty psychedelic Anatolian sound with fuzzy guitars and hypnotic energy. Momes is working on a debut album, we hear, and we can't wait.

Review: Originally released at the dawn of the new millennium in the 2000th year of our Lord, The 'Miracle Of Shame' was an EP from Berkley, California 80s pop-punk legends The Mr T Experience. Their only project to feature bassist Gabe Meline as an official member following his studio contributions to the preceding years' full-length Alcatraz (their final work with Joel Reader handling bass duties), the credits also cite Erik Noyes on Hammond organ as an official member, as he'd previously recorded with the band on 1997's Revenge Is Sweet & So Are You as well as Alcatraz but had never been considered an official member. Reissued on a 1-sided etched green vinyl 12" (like any true punk EP should be), the material gives the almost guaranteed nod to The Ramones they've become known for (on 'Mr. Ramones'), while the beautifully titled closer 'I Don't Know Where Dan Treacy Lives' is easily one of the greatest punk song titles of the 21st century. No, we will not back that up.

Review: ukuoka-based band MuchaMuchaM, known for their breakthrough debut album Qantikala, returns with a collaborative EP featuring Malaysian singer-songwriter Zee Avi. After performing together at The Creators' Co-Write stage in 2023, the two artists have crafted a unique sound that blends their distinct Asian influences. The EP features the modern acoustic track 'Day By Day', a cover of 'Sad and Unfulfilled' and the Asian dance number 'Oyasumi na Sayang', sung in Malay. The EP's cover artwork, inspired by Borneo, was designed by Fukuoka-based illustrator TOYAMEG, further enhancing its cross-cultural appeal.

Review: This is a very special gold vinyl version of the soundtrack for the tokusatsu science fiction superhero television series Spectreman. It ran in the early 70s and had three seasons in all with a cult following who will go nuts to finally have these sounds on wax all these many decades later. It has one Japanese side and one American side and is the work of Ricardo Cruz and Kunio Miyauchi. Instrumentals and the theme song all feature to make this a real retro classic.

Review: It's often the albums that fall between the cracks that are the greatest. Violin virtuoso and singer Andrew Bird and Americana singer-songwriter Madison Cunningham shine a light on the underrated pre-Fleetwood Mac gem of an album, Buckingham Nicks, by fully covering it. Released five years before Stevie Nicks and Lindsey Buckingham went on to have mega success with Rumours, Buckingham Nicks was such a flop commercially that they were dropped by their label Polydor. But it is a cracking album and in covering it in their own style and having a palpably strong musical connection as a duo themselves, Bird and Cunningham have done it absolute justice and changed it. They have shed the 70s pop sheen of the original and made something more timeless to behold. 'Stephanie' is moody, majestic and cosmic and 'Without A Leg To Stand On' is one of the most stirring vocal performances you'll hear in 2024. A highly rewarding listen throughout.

Review: The nearly mythical Buckingham Nicks from 1973, featuring Stevie Nicks and Lindsey Buckingham, has gained significant acclaim despite its original obscurity. With no CD or streaming availability, its tracks are typically found only through rare vinyl copies or dubious online rips. Enter Andrew Bird and Madison Cunningham, whose collaborative project, Cunningham Bird, breathes new life into this largely forgotten album. Produced by Mike Viola, this reinterpretation strips away the original's heavy production, showcasing Bird's exquisite violin and Cunningham's smooth vocals. Their shared harmonies replace the tension that characterised the Buckingham-Nicks dynamic, transforming songs like 'Long Distance Winner' into poignant laments. Notably, 'Lola (My Love)' is reimagined as a heartfelt ballad akin to Dolly Parton's 'Jolene', adding depth to the material. Bird and Cunningham's interpretations not only honour the original but also enhance it, proving the songs' flexibility and enduring appeal. Their unique sound and vibrant acoustic instrumentation, offer a fresh perspective for a new generation, making Cunningham Bird a compelling and accessible homage to a classic.

Review: Violin extraordinaire and singer Andrew Bird teams up with an Americana icon, whose star has risen and is continuing to rise - Madison Cunningham. Bird says of Cunningham that she is one of the most talented musicians he's ever encountered. Together they've covered the 1973 album Buckingham Nicks - Stevie Nicks and Lindsey Buckingham's pre-Fleetwood Mac LP and done a brilliant job of it. Buckingham Nicks was a flop commercially when it was released and despite the duo's subsequent success it was never remastered or re-released digitally, so hard to come by. Thankfully, Cunningham and Bird bring this underrated gem into the limelight and do so in style. "The best reason to cover anyone is that little part of you that thinks you might do it better. This album epitomizes excess and confidence and it only made sense to embody that spirit ourselves," says Bird in a press release. And he's quite right - there's no misplaced arrogance here - they've nailed this homage to a classic.

Review: Dr. Robert of British 80s pop hitmakers The Blow Monkeys and British folk icon Matt Deighton (Mother Earth, Bill Fay, Paul Weller) have formed a new duo and release their album on the not-for-profit Last Night From Glasgow label. Their respective histories - writing really accomplished pop songs and performing in bands with some of the best artists in the history of rock n' roll - raise expectations, but they absolutely smash them. The title-track is a beautiful marriage of pastoral psych folk and glam rock, where there's melodies to spare and affecting, deeply soulful timbres at every turn.

Review: If you're unfamiliar with Dr Robert, we recommend checking out The Blow Monkeys. Robert Howard, as he's credited, formed the iconic new wave and 'sophisti-pop' group in 1981 and his piano keys, bass notes, guitar melodies, vocals and words define the band's sizeable back catalogue. Matt Deighton, meanwhile, might mean Mother Earth, Bill Fay, or Paul Weller to some listeners. He's been involved with them all. Here, the esteemed UK musicians run into one another on Last Night From Glasgow, a treasure of a patron-funded, not-for-profit label out of Scotland's biggest city. It couldn't be a more credible and thoughtful combination. Musically, the result packs crazy levels of musicality, taking a lead from pop, soft, folk and psyche rock to produce a sound which moves between soaring to understated grandeur to deceptively complex and overtly intimate.

Review: GNOD, the ever-evolving psychedelic noise-rock collective, returns with Inner Fucking Peace, a transformative collaboration with Portuguese vocalist MC Sissi. Known for constantly reinventing their sound, GNOD delivers an album that pushes new boundaries. Comprised of eight tracks for voice and electronics, this release merges experimental textures with Sissi's stream-of-consciousness Portuguese lyrics. The album showcases a broad sonic palette, from the minimalist tuned percussion of 'Stop' to the ominous electronics and crashing industrial drums on 'Get Out', reminiscent of GNOD's touring partners Harrga. Tracks like 'Tea & Eggs' delve into reggaeton-infused minimal synth, while 'Flute Theme' centers around chopped and screwed woodwind arrangements. MC Sissi's contributions, often improvised, bring an emotional depth to the album. Her irate vocals, mournful crooning and playful autotune add a new dimension to GNOD's industrial beats and spaced-out synths. With tracks ranging from hypnotic hand drum workouts to the gloom-laden 'Cannela Crematoria', Inner Fucking Peace marks another bold, unpredictable chapter in GNOD's extensive discography, leaving fans eager for what's next.

Review: Percussionist and singer-songwriter Mami Kakudo returns with her latest album, Contact. A graduate of Tokyo University of the Arts' Department of Instrumental Music, Kakudo has gained recognition in Japan and internationally for her expressive use of marimba, percussion, voice and music boxes. Four years after her debut album, Oar (featuring covers of Maki Asakawa's 'My Friday' and Fishmans' 'Ikkareta Baby'), Contact showcases her signature sound again here in all its glory. Recorded with a talented ensemble-including Mugi Furukawa on guitar, Akita Goldman on bass, Wataru Mitsunaga on drums, and Yumiko Iwao on cello-Contact highlights Kakudo's ethereal voice, poetic lyrics and whimsical arrangements.

Review: Genre-defying trio Little Barrie & Malcolm Catto - their bassist Lewis Wharton is the third one, if you're wondering - have created an album brimming with explosive energy and diverse influences fusing rock 'n roll, deep funk, jazz, and fuzzy atmospherics. Barrie Cadogan (guitar/vocals) has played with everyone from The The to Primal Scream, but this LP moves well away from indie templates, employing a freeform approach, experimenting with tempos, volumes and textures. Tracks like 'Spektator' and 'Sick 8' showcase their ability to build subtle momentum and then let it slip back, allowing space for intricate instrumentation and lots of vivid expression.

Review: British outfit Little Barrie - guitarist Barrie Cadogan and bassist Lewis Wharton - team up with Malcolm Catto, known for his experimental edge as producer and drummer with Heliocentrics, on this raw-edged collaboration. Cadogan and Wharton, whose distinctive sound helped define the opening notes of Vince Gilligan's own-right spinoff Better Call Saul, bring their tightly wound energy into Catto's sonically unpredictable world. What emerges is a tense, scorched blend of overdriven guitar stabs, thicketed percussion, and eerie atmospheres that play like a weather report from a collapsing city. Catto's rhythmic instincts create a fractured foundation where Little Barrie's gritty melodies can unravel or coil without warning. Far from polished or predictable, the record thrives on friction and volatility, capturing three musicians testing the limits of structure and sound.

Review: Holly Macve's third album, Wonderland, is a stunning testament to her evolving artistry and a bold declaration of independence. Released under her own Loving Memory Records, this album is her most luxurious and cinematic work to date. Co-produced with Dan Rothman of London Grammar, it features string arrangements by David Saunders and a notable collaboration with Lana Del Rey, who has lauded Macve's voice as one of the world's most beautiful. Reflecting a period of profound personal transformation, Wonderland captures Macve's journey through moments of intense highs and lows. The album's first single, 'San Fran Honey,' explores the theme of unattainable love, blending nostalgia with self-awareness. Macve's evocative, dreamy style resonates with the cinematic quality of Lana Del Rey's work, drawing comparisons between their approaches to music. Wonderland is an exciting exploration of Macve's growth and a showcase of her unique, atmospheric sound.

Review: Madness are releasing a deluxe edition of their 13th studio album, Theatre of the Absurd presents C'est La Vie, which debuted as their first UK number one last year. This special reissue features five new tracks from the original sessions and seven unreleased live recordings from their recent tour. It also has a 12", one-sided Zoetrope vinyl record, two CDs and a flexi-disc, packaged in large format bookset. Interestingly, the Zoetrope vinyl doesn't feature the album, it hosts the five new tracks that offer fans something to get even more excited about.

Review: Norio Maeda's Rock Communication Yagibushi, originally released in Japan in 1970, now comes reissued on Wewantsounds. Rock Communication Yagibushi has since become a Japanese jazz-funk cornerstone, owing to its incredible, complex mutative movement of 14 traditional Japanese folk songs into jaw-dropping jazz-funk versions. Maeda's killer arrangements fit perfectly somewhere on the stylistic intersection of David Axelrod and Lalo Schifrin; the album likewise is increasingly experimental as it progresses, with the big band bombast of the likes of 'Saran Bushi' mixing seamlessly yet also contrastingly with the vibraphonic improv shakedown 'Edo Nihonbashi', our highlight.

Review: Magic, Murder and the Weather', Magazine's fourth studio album and their last before reuniting in 2009, remains an essential touchpoint in post-punk history. Originally released in June 1981 by Virgin, the album showcases the band's signature brittle, cold sound, with a sharp production from Martin Hannett that amplifies its eerie, atmospheric vibe. This new pressing, sourced from the 2000 remastered recordings, comes with a photo inner sleeve that includes an insightful interview with John Doyle. Magazine's enduring appeal as a band for connoisseurs is undeniable, frequently cited by those who appreciate their influential and avant-garde approach to music.

Review: Howard Devoto, the architect of Manchester's punk scene, once claimed that Magazine's albums were crafted to endure, a sentiment that resonates in their latest offering, No Thyself. Serving as a long-awaited successor to Magic, Murder and the Weather, this album marked a triumphant return after three decades when it landed in 2011. With Noko on guitar and John 'Stan' White on bass, the band skillfully revives the dynamic essence of their early work. Tracks like 'Do The Meaning' and 'Holy Dotage' deliver the urgent post-punk energy that defined their classics, while the more ornate pieces like 'The Worst Of Progress' showcase their more experimental influences. Devoto's acerbic and darkly humorous lyrics remain sharp, reflecting on aging and mortality in tracks like 'Hello Mister Curtis', where he addresses Ian Curtis and Kurt Cobain with wry candour. Amidst familiar sounds, standout track 'Physics' introduces a new direction with its tender melodies.

Review: Secondhand Daylight is the second album by Magazine, released in March 1979 through Virgin. The album marks a move towards a more atmospheric post-punk sound, with increased use of keyboards and intricate arrangements, offering a distinct departure from their debut. Pressed using the re-masters from 2000, this edition comes with a photo inner sleeve featuring an interview with Howard Devoto. Magazine's influence can be traced in later artists like Radiohead and Morrissey, cementing their status as one of the most innovative and enduring bands in the post-punk era.

Review: LA-based indie-pop duo Magdalena Bay defy the fleeting nature of online trends with their debut LP, an inviting blend of sonic exploration and visual artistry. Entirely self-produced, the music is a testament to Mica Tenenbaum and Matt Lewin's creative vision, a mesmerising journey through abstract theories of time and the "what ifs" of human existence. Tracks like 'The End' and 'The Beginning' bookend the album with a sense of cyclical wonder, while 'Mercurial World' and 'Hysterical Us' delve into the complexities of identity and perception. With its dreamy melodies, infectious hooks, and thought-provoking lyrics, 'Mercurial World' solidifies Magdalena Bay's status as a force to be reckoned with in the world of indie pop.

Review: Makoto Kurita aka. Magical Power Mako was a veteran underground avant-garde rock musician from Japan. His self-titled record, now reissued here - it saliently forewent any unique album cover save for the stock Polydor sleeve - raised all kinds of arcane hell, and went on to furtively pave the way for a yet more exploratory avant-garde renaissance in Japan thereon. Beginning with a faux-newscast about the collapse of the social contract amid gridlocked international politics (Kurita waxes British-accented with his introduction, "throughout the city today, there is chaos... hospitals have no ambulances, fire brigades have no fire engines... the country is paralysed"), as China, Russia and America escalate mutually assured tensions to a bitter triangular chess game. A deeply puzzling concept record ensues, fusing songwriterly charm, balladry and psychic rock, of purposeful provocation, and with no obvious resolution in earshot.

Review: The Magick Brother & Mystic Sister are in fact not a brother-sister duo, but rather a quartet made up of musicians Eva Muntada, Marc Tena, Maya Fernandez and Xavi Sandoval. Active since 2020 and their debut self-titled EP, this light occultic outfit have since built a rep for weaving flying-carpeted tapestries of narration, sonic reverie, and mysticism in album form; their latest record Tarot II is no exception this rule, coming as the second to name itself after the card-reading divination practice common to the Western esoteric world and beyond. Out from an opening, what sounds to be hammered dulcimered prog progression ('Strength') and moving through to a further ten tracks each named after tarot cards (save for the 'Unnamed Arcane', an apocryphal confabulation of the band - have they drawn a hand we haven't?), this is a record of supreme mystique, and one for the witches and warlocks in our ranks.

Review: "Of all the many noble attempts of the prog rockers to create a grand compositional style which blended elements from classical music with rock, none, in my view, ever reached the intensity, complexity and raw savage excitement of the great Magma masterworks." When you make music that feels like the love child of a rock & roll musical, gospel choir, Frank Zappa and Ziggy Stardust, why should anyone expect you to be even remotely humble when describing your own back catalogue. Magma's 1974 epic is nothing short of batshit crazy in the true sense - bordering, perhaps sprinting well beyond, the point of genius and capable of rendering any room speechless. A stunning example of how wild, exploratory and experimental the music industry was once so proud to be.

Review: 69 Love Songs by The Magnetic Fields is an audacious feat that toes the line between brilliance and sheer audacity. Clocking in at three hours, this magnum opus is a sprawling exploration of love in all its forms. Stephin Merritt and his collaborators craft a diverse sonic landscape, ranging from giddy lust to resignation and despair, and from genre exercises to archetypal Magnetic Fields songs. The album's sheer scale may initially seem daunting, but Merritt's exceptional songwriting and the band's eclectic instrumentation ensure that each track holds its own. The individual songs offermany moments of small epiphanies and emotional resonance. 25 years since it was first released, 69 Love Songs continues to gain new fans and make original ones keep coming back.

Review: A poignant celebration of the veteran prog/metal band's final show with founding guitarist and songwriter Tony Clarkin, recorded in December 2022 at the Wolverhampton venue owned by ex-Judas Priest guitarist K.K. Downing. This concert, now immortalised in stunning audio and video, represents the culmination of their The Monster Roars tour and serves as Clarkin's last live performance before his unexpected passing in January 2024. This triple album package coincides with the first anniversary of Clarkin's death. Featuring a mix of timeless classics, newer material and fan favorites, it captures Magnum at their very best, offering a bittersweet farewell to the guitarist who shaped their sound for over five decades. Tracks like 'Kingdom Of Madness', the title song from their 1978 debut, shine as fan favorites and staples of the band's storied career. Live At KK's Steel Mill is both a heartfelt tribute to Clarkin and a reminder of Magnum's legacy as melodic hard rock pioneers, ensuring their music continues to live on.

Review: Pressed on triple 180-gram clear vinyl, this album features the Mahavishnu Orchestra, led by John McLaughlin, captured live at the Berkeley Community Center in late 1972. Known for their complex blend of Indian classical music, jazz, and psychedelic rock, the original lineup delivers a dynamic performance from an archive KFAT-FM radio broadcast. Despite being from an archival source, the sound quality is remarkably clean. The album includes notable tracks like 'Miles Ahead,' played at a slower pace than its studio version, and a 24-minute rendition of 'Dream,' featuring intricate improvisations by McLaughlin, Jan Hammer, and Jerry Goodman. 'You Know You Know' retains its subtle mystery, contrasting with the more bombastic box set version. 'One World' (mistitled as "One Word") and 'Dance of Maya' showcase the band's high-octane, intricate style, with Goodman's violin and McLaughlin's guitar solos standing out. Given the scarcity of live recordings from this legendary jazz fusion outfit, this album is a priceless addition with unparalleled live energy and improvisational talents.

Review: We're just gonna put it out there - everyone is jealous of Quentin Thirionet. He once worked as a rope access worker (AKA an industrial climber), which sounds interesting and exhilarating. Now he grows organic veg. Which sounds delightful. He's also refused to stylistically confine himself at any sound, hence you might know him from Dhavali Giri or Pairi Daeza, gypsy jazz, Auvergne folk song, experimental electronics or something else entirely. Despite that experience, Sumer Is Icumen is Thirionet's debut LP, and takes us further into those strange, otherworldly noises that are only possible when human and machine work together perfectly. Much of this feels as organic as the artist's farm, but really it's about the natural and mechanical, manmade and synthesised, painting evocative audio pictures that invoke images of evolution, growth, hidden systems at play and equilibrium.

Review: Perth based Aussie progressive metalcore outfit Make Them Suffer return with their follow up to 2020's venomous yet audacious How To Survive A Funeral. Their fifth full-length and first to feature newly enlisted keyboardist Alex Reade, who stepped in to replace Booka Nile following his departure in 2022, serves as a self-titled declaration of intent, fusing almost every sonic maelstrom the band have weathered to this point. Elements of blackened death metal from their earliest formation clash with the djent-inflected prog deathcore grooves that have now become their sonic staple, while swathes of symphonic death metal motifs underpin the frenetic breakdowns with ethereal keys. Having left Rise to sign with SharpTone Records to deliver their most cohesive and definitive statement yet, it appears the suffering may have only just begun.

Review: Dive into the stunning world of Saint Seiya with the first-ever vinyl issue of Volume 3 of the anime's cult soundtrack. Composed and arranged by Seiji Yokoyama, known for his work on Gatchaman, this album features the best music and songs from the beloved series. Saint Seiya, also known as Knights of the Zodiac, follows the heroic Knights of Bronze as they protect the goddess Athena. The series has become a massive franchise since its debut in 1986, inspiring TV series, films, video games, and more. This limited edition, pressed on stunning blue marbled vinyl, offers fans a deeper exploration of Yokoyama's iconic score. With its beautiful packaging, this release is ideal for collectors and enthusiasts.

Review: Originally released in 2014 and celebrating its ten-year anniversary this year, Cope would serve as the fourth full-length from Atlanta alternative rock outfit Manchester Orchestra. Following on from the breakout success of 2009's Mean Everything To Nothing, and the critical and commercial acclaim awarded to 2011's sombre and expansive Simple Math, primary songwriter Andy Hull sought to restore some of his project's earlier post-hardcore proclivities with this raw, jagged-edged batch of crunching indie-core bangers, all recorded in-house at their (at the time) newly built home-studio. Both self-described as an "unrelenting and unapologetically heavy 38 minutes of rock" and elaborated upon as "Whereas Simple Math was a different palate with each song, a different colour, I wanted this to be black and red the whole time;" utilising their expanded platform and popularity, Cope was the sonic risk necessary to rediscover creative self-fulfilment and deliver some of Manchester Orchestra's darkest, most cathartic, and emotionally charged material to date.

Review: Whitesnake members Adrian Vandenberg, Rudi Sarzo, and Tommy Aldridge came together in 1993 for a one-off album, now re-released on its 30th anniversary. Departing from their arena-rock past, they embraced blues rock influences, reminiscent of Cream and Led Zeppelin. With vocalist Ron Young from Little Caesar, they crafted a raw, spontaneous sound in a two-week studio session. Though overlooked at the time due to shifting musical trends, the album resonates today with its organic feel and nods to classic rock. While lacking mainstream appeal, it boasts standout tracks like 'Give Me a Shot' and 'When the Hammer Comes Down,' alongside introspective ballads. Despite its underappreciated status, the album remains a proud musical moment for Vandenberg, reflecting a time when rock music was evolving. With its timeless appeal, it's regrettable that the band only produced one album together before pursuing other projects.

Review: The Welsh rock icons' first new studio album since 2021's The Ultra Vivid Lament Door To The River and - remarkably - their 15th studio album. Recorded at their studio in Newport and the legendary Rockfield Studios in Monmouth, produced by regular collaborators Dave Eringa and Loz Williams and mixed by Caesar Edmunds (Beach House/Suede/Wet Leg), the album captures Manics in their melodic prime. James Dean Bradfield's voice is one of the treasures of modern rock - somehow sounding as fresh and powerful as it did in the 90s. On the single 'Decline & Fall' you can hear the immediacy and synths and guitar sounds coming together like a fireworks display celebrating the opening of a new chapter. We even get, if not quite a diss track then certainly a retort song, to a certain Mr Morrissey in the shape of 'Dear Stephen', in which Nicky Wire concocts an imagined belated reply to a postcard he genuinely received from the Smiths singer back in the 80s. The Manics don't have anything to prove at this stage of their career, but the fact they keep knocking it out of the park is astounding. Long may they keep finding this type of form.

Review: This 15th album from The Manic Street Preachers sits snuggly with all the bands' previous releases. Hints of irony, at times it's anthemic, euphoric, one that's difficult to put down and a collection of music that offers hope and belief yet again that the world can and will become a better place. It's an album bookended by songs with Nicky Wire on lead vocals. On opening (title) track 'Critical Thinking' he tells us "It's OK to not be OK!" and to believe in ourselves. 'Decline and Fall' that follows could be one of the best songs the band have written for years. It reminds us of everything we've always demanded from the band, a rousing chorus ready for airing in large arena's (as do many of the songs on this album) and for a selection of music that may have started a little slowly, 'Brushstrokes of Reunion' continues the comforting audio experience these fifty somethings remain capable of providing after over three decades of their existence. This again boasts another infectious chorus you want to be singing long to after just a single listen. Then we're back with Nicky Wire singing on 'Hiding in Plain Sight', his best vocal performance on the album and 'Dear Stephen', a heartfelt message to Morrissey (but one 'with no moral judgement' according to the writer) inspired by a postcard sent from Morrissey in the early 1980's. The following track 'Being Baptised' boasts a guitar sounding not a million miles away from one Johnie Marr would have put his name to. The second half mirrors the first half dozen songs. 'My Brave Friend' and 'Out Of Time' Revival are certainly songs worthy of being a singles, 'Deleted Scenes' is another arena ready anthem and Late Day Peaks recognisers a decline in the creative industry ("So move indoors, be happy to hide, avert your gaze as the cinemas die") - All vintage Manics material that is just as identifiable as everything the band have provided us with in the past. Final track 'OneManMilitia' is a collection of soundbites that could easily have sat comfortably on Generation Terrorists. It's a great way to wrap up the album. Critical Thinking is an album you won't want to put down after first listen, it's the next chapter of the Manic's story, one that still doesn't feel as though it's about to end and there's nothing on this album gives you the feeling they're not ready to let anyone down just yet.

Review: Mannequin Pussy's second LP Romantic was a watershed wilding for the Philly hardcore punks. In 2016, as the aches and anguishes of the first quarter-century were increasingly felt, this deceptively billed "indie rock" band would proportionally increase the very same trash-humping snarl that could be heard in their sound as early on as 2012. A critical breakthrough despite years in the game, Romantic sounded to burn the tired institutional flag of romance, making way for a more vital, tumultuous, unwieldy love, not anchored in prescription: peak punk climaxes verge on post-rock limit states, where jangle pop moments fuse murderously with grimacing punk (just listen to 'Denial' for the best case of this).

Review: Argentinian crowds are probably the most exciting to play to in the world. And Marilyn Manson at this time had just released his Trent Reznor-produced masterpiece LP Antichrist Superstar and was at the peak of his game, so to say a ticket to this show at the Velez Sarsfield stadium in Buenos Aires was hot property is an understatement. This is about as good as heavy metal rock n' roll gets and not many will come close to the thrills that a 90s Marilyn Manson show brought. The setlist is monumental, with singles from Antichrist Superstar such as industrial metal banger 'The Beautiful People' and 'Tourniquet', which sounds like the blueprint to the nu-metal boom that was to come, among the highlights. Unusually for a live album, it's taut, with the track list limited to 11 songs, but this is for good reason. In a moment of Spinal Tap-esque horror, shortly after the final track you hear on the album, the band's drummer Ginger Fish received an electric shock whilst playing and the show ended abruptly. Putting his body on the line like that to deliver this blistering set is an heroic deed and it's a fantastic consolation to have this show fossilised onto vinyl.

Review: US rock demon and counter-cultural musical star Marilyn Manson returned with his bold, provocative album on vinyl last year and now it arrives on CD. Known for pushing boundaries across his long career, Manson delivers another dark, gripping collection of industrial rock here that is full of haunting melodies and intense vocals that brim with menace. The album explores themes of power, corruption and rebellion all wrapped in his signature shock value and unique expression. With unsettling lyrics and atmospheric sounds, Manson creates a twisted, dystopian world that pulls listeners deep into his confrontational style and is sure to win over fans old and new once more.

Review: Returning with his redemption attempt follow up to 2020's We Are Chaos, industrial metal shock-rock provocateur Marilyn Manson seeks to skirt the numerous controversies and accusations accrued in the last few years with his most potent musical statement in decades. Signing with Nuclear Blast and enlisting the likes of Chelsea Wolfe collaborator/producer Tyler Bates to helm the project, his 12th full-length One Assassination Under God: Chapter 1 (indicating that more is sure to follow), offers up some of the heaviest and introspective material of his career to date, with cuts such as 'Nod If You Understand' harking back to the unhinged angst of Antichrist Superstar, whereas 'As Sick As The Secrets Within' breathes with the same mercurial synth-gloom as the strongest moments on Mechanical Animals. A cynical attempt to regain fan adoration, or the sound of a tortured artist finally coming to terms with his own demons and attempting to rediscover former glory and prowess, the interpretation is entirely your own to consider.

Review: The somewhat surprising return and attempt at redemption from the industrial metal shock-rocker Marilyn Manson has been a bold pill to swallow, with the once iconic provocateur seeking to avoid the many allegations and numerous controversies he has garnered over the last decade. Attending rehab and becoming fully sober over the past few years has seen dramatic weight loss, a notably more lowkey public demeanour and a newly signed record deal with Nuclear Blast (having been dropped by Loma Vista not long after 2020's We Are Chaos) turn a few heads, simultaneously cautious and curious as to the authenticity of this humble arc. With lawsuits recently thrown out, the court of public opinion appears to be the only form of due process that shall occur, leaving it to individual listeners to make up their mind as to the merit of the artist as a person. As to the art itself, One Assassination Under God: Chapter 1 is the 12th album to adorn the name Marilyn Manson, and it's his best since 2000's Holy Wood. Tapping Chelsea Wolfe collaborator/producer Tyler Bates to oversee the entire project has helped to create a generational bridge between how out of sync Manson himself had become with his own artistic strengths and audience desire, and Bates' insider knowledge as a younger fan first, collaborator second. Together they rediscover the core industrialist menace, gothic romanticism and hedonistic nihilism that kept listeners hooked after the initial shock of aesthetic would cease, but for the first time in decades, it feels earnest and earned rather than forced. Boasting Antichrist Superstar style buzzsaw synths and chug-heavy breakdowns on cuts such as 'Nod If You Understand', while the self-deprecating admission of using drugs to hide behind monstrous flaws on the gloomy balladry of 'As Sick As The Secrets Within' harks back to the most fragile moments of Mechanical Albums. Be it a cynical cashgrab or attempt to regain fan adoration, or the genuine musings of a tortured artist finally learning to face his own demons head on, there's simply no denying that this is Manson at his most potent, intimate and focused, begging the question of how different of a career trajectory and latter day output might we have had if the man had learned to look inward long before hitting the bottom.

Review: The March Violets' latest album, Crocodile Promises, marks a strong return for the reformed post-punk band that originally made waves in the early 80s. Now composed of founding members Rosie Garland (vocals) and Tom Ashton (guitar), joined by Mat Thorpe (bass, vocals), the band revisits and evolves their signature sound. The album starts off with 'Hammer the Last Nail,' a track about breaking free from toxic relationships. Garland's vocals blend seamlessly with shimmering guitar riffs, proving the band's chemistry is as strong as ever. 'Bite the Hand,' with its assertive yet measured energy, explores themes of betrayal and ingratitude, while 'Virgin Sheep' offers a rock-driven number with heavy bass and whispered vocals, hinting at deeper metaphors. The slow-burning 'Kraken Awakes' seems to address themes of deceit, subtly building tension throughout. The previously unreleased 'Mortality' finds its place alongside newer tracks, maintaining the album's cohesive feel. 'Crocodile Teeth,' fast-paced and filled with glistening guitar lines, might symbolise controlling relationships, while 'Heading for the Fire' invites introspection with its compelling vocals and mid-song guitar solo. Closing with 'This Way Out,' a hypnotic, pulsing track, Crocodile Promises will resonate with long-time fans while attracting new listeners to their timeless sound.

Review: The sophomore studio album of American indie pop band The Marias, Submarine comes as the sequel to their debut record Cinema, and the trequel to the 'Superclean' EP. Preceded by the lead single 'Run Your Mouth', the album is a representation of solitude and exploration; in the band's own words, the act of choosing to be alone and listening to what the heart needs and not what it wants. The band's preferred mode of representing this visually is cryptic underwater videography; lyrically and sonically, we find ourselves submerged in vats of slick, glossy funk, amid lyrical themes of conflict avoidance and gossip; both serve as effective conduits through which we may find ourselves dancing and reflecting at the same time.

Review: Marilyn Manson is back with another of his famously bold and provocative new albums, One Assassination Under God: Chapter 1. Mansn has always been known for pushing boundaries - as well as buttons - and comes through again here with a dark and gripping collection of tracks that blend his usual tropes of industrial rock, haunting melodies and raw, intense vocals that come from deep down inside and ooze with menace. This album explores themes of power, corruption and rebellion, all wrapped in Manson's signature mix of shock value and unusual expression. It adds up to a journey into a twisted, dystopian world filled with layers of atmospheric sounds and unsettling lyrics so is perfect for fans of Manson's uniquely confrontational style.

Review: The exquisite 1974 debut album by American pianist, guitarist, producer and songwriter Gary Marks hears a deserving reissue through Lantern Heights. Now a published fiction and non-fiction author, Marks' early musical career ended all to shortly, and was Marked sonically by sweetened contemporary jazz and folk arrangements, heard best on this homeward but still subtly cosmic opening statement of an LP. The open-ended, pathetic-fallacious 'Sherry's Song' is our twinging piece de resistance, with Marks serenading a young flame as the object of his gushing folksy affections, while the immediate follower 'Gathering' indulges a completely "other" set of progged-out emotions. 'We Free' unites the two through a bossa nova downturn, and 'A Gina Theme' isolates the vibraphone in a kind of giant sonic glasshouse, serving as one of several interludes that steadfastly beautify the record.