Back catalogue: Rock (All)

Review: Rolling Recordings from Antigua makes its debut here with a first release under the guise of Rock Star Heroes who offer up a couple of hard-to-find and previously unreleased funky disco influenced club bound instrumentals of out and out rock classics from one of the worlds best known stadium bands. These are perfectly designed for the club and collide rock, funk, disco and more into fresh forms. Opener 'Undercover Of The Night' popular with the likes of DJ Harvey and is a slice of raw, hard-hitting groove magic with organic percussion and live drums laden with funky guitar riffs and lively chord work that brings the whole thing to life. On the flip is an instrumental version of 'Miss You' which still has all the swagger of the iconic original with sultry harmonica luring you to the floor where the masterful drums and guitars will keep you moving.

Review: The Ramones had long reshaped the world of music in their beautifully twisted image by the time they recorded this, their second live album, in Spain in 1991. But the New York punks were seemingly addicted to playing live, touring relentlessly throughout the 80s and 90s, and their tightly drilled act is at fever pitch here, careering through an incredible 32 'blink and you'll miss them' tracks across four sides of vinyl. A handful of covers - there's a blistering version of The Trashmen's early rock 'n' roll stormer 'Surfin' Bird', for instance - nestle alongside timeless originals such as 'I Wanna Be Sedated', 'Beat On The Brat' and 'Sheena Is A Punk Rocker', with a healthy selection of deeper cuts from the late 80s here too. Top mayhem.

Review: Marc Ribot's latest LP draws on decades of work and reflection, gluing fragments recorded over years back together to form a coherent whole, and finally foregrounding Ribot's own voice in the process. Sparked by a memory of one of his daughter's childhood drawings, Map Of A Blue City perambulates states of disorientation and openness, tracing the emotional topography of loss. Stark truths pivot against tender storytelling, at once producing an intimately distant space. "Recording production is really complicated," he says, "but it all boils down to what kind of room the listener feels they're standing in." Not quite autobiographical, it's a record built on the long, unresolved tension between what changes and what doesn't.

Review: Rootsy LA indie darlings Rilo Kiley have reformed to embrace their retrospective best of era, even though it feels just like yesterday that the Jenny Lewis-fronted group were in their early 20s releasing their first albums. The band strongly evoke that late-00s/early-10's golden era of indie/chamber pop and are among the best representatives of that time. 'With The Arms Outstretched' is classic songwriting full of emotional depth. It is blessed to have Conor Oberst of Bright Eyes fame on backing vocals and it's sure to bring the crowds to floods of tears of joy in the reunion shows. Meanwhile, 'Let Me Back In' has a bit of The Strokes drummer's side project Little Joy about it, with its beautiful arpeggio picking and smoky, noir vocals. Elsewhere, 'A Better Son/Daughter' works around a stripped back Moldy Peaches-esque simplicity, before bubbling up into more of a procession with lyrics you can't help but want to march along to.

Review: A posthumous release that furthers Arthur Russell's now legendary status. Recorded in Downtown New York City on December 20, 1985, it's an intimate, unedited solo live performance recorded at Phill Niblock's loft space known as Experimental Intermedia Foundation. The takes are very raw and unpolished that it makes you feel like one of the very few in attendance. 'That's the Very Reason' is a beautiful, tender experimental folk piece showing he needed very few materials in order to send listeners on a journey of transcendence. 'Too Early To Tell' is highly idiosyncratic and produces a sound not normally associated with cello. And 'Sunlit Water' has an oriental feel and provides beautiful resolve to a resplendent set.