Back catalogue: Rock (All)

Review: Rain Parade's recent EP Last Stop On The Underground marks their notable return to the music scene, coinciding with the release of their first album in nearly forty years, Last Rays of a Dying Sun. Original members Matt Piucci and Steven Roback, who have been collaborating since 1981, continue their legacy of neo-psychedelic rock with this fresh material. The band, co-founded by the Roback brothers and Piucci, made a significant impact in the 1980s Paisley Underground scene with their debut album Emergency Third Rail Power Trip, widely regarded as a classic. Following David Roback's departure, the band's EP Explosions In The Glass Palace in 1984 maintained their high acclaim and has only grown in reputation over time. Reflecting on the creation of the new EP, Sid Griffin of The Long Ryders mentioned their recent tour with the Third Mind, which inspired Rain Parade to produce new material for their European audience. The EP features three new songs, including the title track, which incorporates elements from an older unfinished piece, and a leftover track from their latest album, creating a cohesive four-song collection. The recording process, guided by Jim Hill in familiar Oakland studios, was efficient, showcasing Rain Parade's ability to craft captivating music swiftly.

Review: Originally released in 2004 to a hot reception, this iconic soundtrack from the beloved Sega game Feel the Magic XY/XX features Tokoi's unforgettable blend of eclectic, funky and also smartly experimental compositions. The music complements the game's quirky, surreal themes with catchy rhythms and vibrant colours. This anniversary edition offers remastered tracks with enhanced sound quality so is a guaranteed nostalgic journey for longtime fans or a superb introduction to the brilliance of Tokoi's work for new ears.

Review: Pianist Rachel Grimes is Rachel's and their sophomore album Music for Egon Schiele was originally released in 1996 on Quarterstick Records as a live score for a theatrical production about the titular Austrian painter. The performance of it was premiered in 1995 by Chicago's Itinerant Theater Guild with Grimes and two string players. The music is intimate and emotionally rich material that is stripped down to chamber pieces that rise and fall with real intensity. More focused than their debut Handwriting, this album blends melancholy, romance and beauty into a deeply affecting narrative that lingers long after the final note.

Review: This Ramones album - one of their very, very many - is packed with relentless guitar energy and a proud punk ethos. Originally released in 1987, it captures their raw spirit and is packed with gritty rock licks and infectious melodies. Featuring standout tracks like the opener 'I Wanna Live' and the guttural vocal bite of 'Garden of Serenity' it showcases the band's evolution while staying true to their signature sound, during what was a pivotal moment in the US punks' lengthy career, a decade or so on from their explosive arrival.

Review: Are The Ramones now best known for being on t-shirts worn by people who have never heard the band? Maybe. But either way, Too Tough To Die, which was released 40 years ago, is often seen as a return to form. Really, it deserves a more radical categorisation. Released in the mid-1980s, the album felt out of step with the era, not in a negative way, but in how it captured the contradictions of its time. Made without a clear direction, its incongruity became its defining feature. As Joey Ramone noted in a 1988 interview, "Around '84, the world was changing drastically... Things were getting scary. So, our songs started changing." This shift in tone marked a new chapter in their musical evolution.

Review: While Baltimore, Maryland might be best known for the popular HBO crime drama The Wire, whereas musically the city is regarded as one of the pinnacle breeding grounds for modern hardcore punk thanks to the likes of Trapped Under Ice, Turnstile and End It, one outfit far more intrigued by the bluesy garage rock origins of the punk genre are Ravagers. Returning just a year on from 2024's acclaimed sophomore effort Too Raw For The Law, the band's third full-length On The Loose continues their cementing as true punk n' roll revivalists with fuzzed out grooves and lush melodies coalesced into one bombastic boogie that's as immediate as it is timeless.

Review: Literally decades long overdue, Volume 3 marks the first new album from Queens, New York hardcore punk heroes Reagan Youth since 1990, following on from their iconic 1984 debut EP Youth Anthems For The New Order, later re-released as Volume 1 with additional bonus tracks, whilst the second volume would be distributed upon the band's initial break up. Inspired by the tumultuous life and crafted as tribute to original vocalist Dave Rubinstein (better known as Dave Insurgent), who tragically committed suicide in 1993 following the death of his mother and murder of his girlfriend Tiffany Bresciani whilst the pair battled severe heroin addiction, the material is further shrouded in misfortune due to the recent death in 2024 of founding guitarist Paul Bakija, who served as primary songwriter working tirelessly on the album for years. Hard-hitting, breakneck paced tracks with zero sign of aging or slowing down, new vocalist Madame St. Beatrice delivers snarling accounts combining rage and earnest concern to a project that many thought would never see the light of day and sadly, literally wouldn't until all original members involved had shifted off this mortal coil.

Review: After 20 years of soulful and authentic rock & roll blues, Eli Paperboy Reed definitely had a right to celebrate. Originally recorded in a basement in Allston, Massachusetts, completely live onto and direct to analogue tape in mono, this collection was first released on a limited run of 300 CDs, self-released, and mostly sold by hand on the streets of Cambridge, close to Harvard University. Now redone, pressed-up and polished for 'proper release', you get all 12 original tracks and another 14 that never saw the light of day before. Four of those were recorded at the time of the others, the remainder come from a radio session the following year. All of them are incredible, and prove that it's not only the Deep South that can make these raw and unflinchingly honest sounds.

Review: American guitarist, singer, and lead songwriter for legendary rockers The Velvet Underground, Lou Reed also had a distinguished solo career, including Metal Machine Music, which remains one of the most radical and controversial albums ever released. First issued in 1975, its wall of feedback and distortion defied all musical convention, splitting critics and fans but earning cult status for its uncompromising vision. Now celebrating its 50th anniversary, this landmark work returns for Record Store Day 2025, having once been described by celebrated critic Lester Bangs as "the greatest record ever made in the history of the human eardrum," and who are we to argue.

Review: What you see before you ranks among the most mythologised live albums (n)ever released. Like the title suggests, it was originally recorded in 1972 at Parisian rock institution Le Bataclan, a legendary venue which would later gain notoriety after a group of armed gunmen opened fire on a crowd in 2015, killing 90 people. But that grisly recent history belies its status as one of the most respected concert halls in the French capital, and this not-quite-Velvet Underground show has contributed to that legacy. Showcasing the stop-you-dead qualities of Nico's staggering (and unique) vocal timbre, the surreal, immersive qualities of the Cale and Reed's legendary art-rock tones, this time capsule had been bootlegged and bootlegged until 2004, when it finally got an official release. Now it's back.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


Light In The Attic teams up with Laurie Anderson and the Lou Reed Archive for a thrilling retrospective, Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65. An expansive selection of songs all written by Lou Reed, during his mid-60s stint as the staff songwriter for the long-defunct label Pickwick Records, this is a rare glimpse of a master rock musician stepping out of the limelight over the course of 25 songs, yet still letting the form and contour of his voice and sensibility be heard. All this was achieved before Reed had at all launched his career with the Velvets; it may indeed be said that this pubescent 60s period was the firelighter to Reed's flame, as the label specialised in soundalike records that emulated the major pop hits of the day - it's no wonder Reed would absorb such emulations and take them in as his own, albeit with a Century-defining twist. Channelling everything from teenybopper pop to soul-inflected garage rock, whether byJeannie Larimore, The Hi-Lifes or The Hollywoods, we get a thorough look-in here as to what made Reed and his contemporaries tick, and what Reed made tick in turn, before the fame.

Review: There's been an unexpected revival in Sophie Ellis Bextor's music ever since the success of 'Murder On The Dancefloor' in the closing scene of the Saltburn film. Some lesser-known trivia is that she was in a 90s band with DIY pop hero Billy Reeves called Theaudience, who were like a poppier Stereolab. Reeves being the band's songwriter founder and co-producer. They only ever released one album (their second album was rejected by Mercury Records) and Reeves retrained as a radio producer and broadcaster following a near-fatal car crash in 2001. Reeves, however, has been reasserting himself in music since 2023 and is already onto his third solo album, which is a thrilling, idiosyncratic take on electropop. 'Generation Game' is what you imagine the inside of Hunter S. Thompson's head would have sounded like if he was let loose around a Tokyo gaming arcade around the time he was writing Fear And Loathing... 'Let's Not' is Britain's answer to LCD Soundsystem's 'Daft Punk Is Playing At My House'. Elsewhere, 'Bstrds!' has a groove reminiscent of Alabama 3's Sopranos soundtrack and 'Dear Life' is poignant and emotional, offering a terrific counterpoint to the joyous emotions running through this magnificently compiled album.

Review: Rocket From The Crypt mastermind Speedo aka The Swami aka John Reis is a punk lifer troubadour unlike any other, who seemingly refuses to slow down with age. Returning with his second solo sull-length in just 8 months, following on from 2024's All Of This Awaits You, this time he casts a back-line including Jason Sinclair (Hot Snakes), Joey Guevara (Swami & The Bed Of Nails), Jacob Turnbloom (Mrs. Magician) and Glen Galloway (Truman's Water), to help concoct these 11 tracks of chaotic, hard-edged punk rock bangers delivered at a breakneck pace with fist-pumping hooks and a sincerely rebellious attitude to boot (stomp). Chock full of bangers like the feral 'Fed To The Dogs', at 55 years young, Reis is in no way content to rest on his laurels for long, always making Time To Let You Down.

Review: The self-described "world's most famous unknown anonymous art-concept multimedia pop group" return with one of their most expansive, daring, absurd and bad taste visions to date. Doctor Dark is a project over two years in the making while the concept has been in inception for decades with its overarching theatrical narrative inspired by the real life case of James Vance, the young man from Reno, Nevada who tried to commit suicide with a shotgun in 1985 after listening to Judas Priest and the subsequent unsuccessful, infamous 1990 court case that followed. Combining this with the life of the real "Doctor Death" - Jack Kevorkian; the Armenian-American pathologist and proponent of physician-assisted euthanasia, said to have assisted in the deaths of 130 terminally ill people between 1990 and 1998, you get the culmination of an orchestra-backed punk-opera written in collaboration with co-producer/conductor Edwin Outwater and the San Francisco Conservatory of Music. Detailed as "a journey into the greasy world of euthanasia, drug abuse and an unhealthy obsession with heavy metal", revolving around "a couple of heavy metal kids (Maggot and Mark) and an insomniac Russian physician (Dr. Anastasia Dark)", the three-act modern theatre piece offers a head-melting sonic concoction of abrasive art-punk stylings emboldened by complex brass and horn work, with a deft balancing act of chaotic yet controlled punk and classical arrangements. With both CD and vinyl versions including a "read-along libretto", with listeners encouraged to read as they listen to the album, as well as a stage adaptation apparently in the works to follow upcoming live tour dates, this just might be The Residents' piece de resistance of avant-garde art-punk multimedia absurdity.

Review: Emitt Rhodes' self-titled album, released in 1970, proves his pioneering approach to home recording: made in his home studio, it came at a time when union rules mandated that albums released by major labels had to be recorded in professional studios. Ergo, the fact that it was made at home couldn't be disclosed on the cover. Despite this, the original LP featured a playful message in the runout groove, stating "Recorded at Home" in humorous title case. Rhodes had initially intended to call the album Homecooking, but the label opted for his name instead. Using a four-track recorder, Rhodes forged the instrumental tracks before transferring them to an eight-track with which to add vocals, enhancing the sound with a higher-quality microphone - clearly that's as much as grandiose a story as we're getting on the BTS front. The album peaked at number 29 on the Billboard chart, with 'Fresh As A Daisy' peaking at number 54 on the Hot 100, and 'Lullabye' finding its niche in the Wes Anderson film The Royal Tenenbaums.

Review: Most bands dream of going to LA and making it in big, but for Rilo Kiley, who are from Los Angeles, they struck gold by turning the attention away from the major metropolis and gazing onto a small, influential scene in Nebraska that centers around Saddle Creek Records. As one of few non-Omaha, Nebraska-based artists to get on the label, they were signed against the odds really. But the pairing couldn't have been better. For the Jenny Lewis-fronted group to have the genius Mike Mogis (who is the record labels go-to producer and a full time member of Bright Eyes) produce this second album of theirs was a stroke of genius. Originally released in 2002, it's now getting a reissue that's limited to only 3000 copies. Given how strong their fanbase is, chances are these won't be standing around for very long and it's a beautiful celebration of one of the hallmarks of indie rock.

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: Laurin Rinder and W. Michael Lewis were amongst the most prolific producers of the disco era - a pair of jazz-trained eccentrics who not only embraced the disco sound, but did more than most to help develop it (they were particularly big fans of synthesisers, showcasing in their work as much as Giorgio Moroder and Patrick Cowley did). They also loved a concept - hence recording and releasing The Seven Deadly Sins, an album-length celebration of disco's sinful side, in 1977. As this Be With Records reissue proves, the album remains a rare beast: a largely instrumental disco album that sparkles from start to finish. For proof, check the seductive, electric piano-and-synth smothered grooves of 'Lust', the heavily electronic proto-techno of 'Gluttony', the solo-laden disco-funk heaviness of 'Pride' and the undeniably epic heaviness of 'Anger'.

Review: Ringo Starr returns with Look Up, a fresh country album produced and co-written by T Bone Burnett, with 11 original tracks that bring a new twist to Ringo's storied and much fabled career by blending his iconic style with Nashville's country roots. Starr, a two-time Rock and Roll Hall of Fame inductee and nine-time GRAMMY winner, not to mention being the drummer in the most famous band of all time, recorded these songs in both Nashville and Los Angeles, adding depth to his celebrated - and pretty much unrivalled - legacy.

Review: Skate-punk, crossover thrash, or best described as "Nardcore" (being part of the formative West Coast hardcore scene located near Oxnard, California), Rich Kids On LSD or often referred to as RKL, are widely considered to be one of the most important yet simultaneously overlooked acts of the formative 80s punk world. Their 1985 debut full-length Keep Laughing introduced the masses to their Beanie Boy mascot, but more importantly, their chaotic fusion of snot-nosed hardcore meets angsty skate punk, while later material would flex thrash metal riffage, marrying humour with elements of a genre already guilty of taking itself too seriously, leading them to become THAT punk band for Slayer and Metallica diehards who couldn't admit too freely to vibing on anything outside of metal. While later projects would see these metallic elements brought further to the forefront, the classic cuts boasted by this first effort such as 'Think Positive' (or 'Drink Positive' when played live), 'Ded Teds', and 'Pothead' are some of the most quintessential skate-punk anthems of all time. Easter Egg - Actor Josh Brolin claims to have been an early member before the band had even decided upon a moniker, which actually came in the form of a criticism lobbed at them during their early days.

Review: If you've ever heard Rob Zombie's account of why his parents left their life with a travelling carnival, taking their two young sons with them, then his obsession with gore and visceral horror begins to make sense. Shots fired, people's faces being smashed apart with hammers. A full blown riot complete with burning tents. A cinema-worthy redneck vision of a hyperlocal apocalypse. Of course, his love of blood and guts and the undead has evolved since then, with a slew of cult movies behind him, not to mention all those huge album successes that came beforehand, both with and without the band that catapulted him into the spotlight, White Zombie. Hillbilly Deluxe 2 is his fourth solo LP, and the first to be recorded with his full touring band, as oppose to session musicians. It's loud. It's heavy. It's unequivocally Rob Zombie.

Review: In 1962, a chance convergence of historical contingencies in Dartford, Kent, would set the stage for the formation of one of the world's best-known rock and roll bands, The Rolling Stones. After Mick Jagger and Keith Richards took inspiration from rock icons Chuck Berry and Bo Diddley, not to mention the comparatively sentimental Chicago blueses of Brian Jones and Ian Stewart, the group's had laid the mac for their own sound. The Rolling Stones' love for early blues legends would define their success; this compilation The celebrates those roots, from Muddy Waters' 'Just Want to Make Love to You' through to Chuck Berry's 'Memphis, Tennessee' and Robert Johnson's 'Love In Vain'. Special bonus tracks include the jazz-infused 'Key To The Highway' by Jazz Gillum, further proving Jagger and company's far-reaching inspirations.

Review: Rose City Band's Sol Y Sombra is a radiant blend of sun-kissed country rock and introspective melancholy, led by guitarist/vocalist Ripley Johnson. The album captures the joy of creation while acknowledging the ever-present shadow in life, with Johnson embracing both light and darkness. Backed by pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg and drummer John Jeffrey, the band conjures an effortless momentum, infusing each track with lush melodies and rhythmic drive. Tracks like 'Lights on the Way' and 'Evergreen' exude Americana bliss, while Walker's pedal steel adds a shimmering layer to the album's expansive, sunset-drenched sound. Johnson's introspective lyrics and soulful guitar interludes, paired with special guest Sanae Yamada's synths, elevate the album to a deeper emotional level. The closer, 'The Walls', beautifully features the band's blend of exploration and catharsis. Throughout Sol Y Sombra, Johnson expertly balances familiar sounds with subtle evolutions, creating a journey that celebrates both light and shade. It's a heartfelt and resplendent album, filled with timeless grooves and reflective moments.

Review: It's hard to imagine anyone growing up in New Orleans and not falling into some sort of musical pursuit. If you've ever been to the Big Easy the fact that tunes and songs and rhythms and blues and Americana and bluegrass and jazz seem to float on every whisper of every breeze will not have passed you by. That goes whether you're draining the glass on Bourbon Street or in one of the Louisiana city's more authentic, less touristic corners. Hometown girl Esther Rose doesn't necessarily follow suit. Country, yes, but there's a tendency towards ignoring the genre tropes to step out and do her own thing. More power to her. Yes, 'Scars' and 'Want', for example, are blissful acoustic numbers as timeless as they are familiar - no criticism. But the likes of 'New Bad' feel genuinely inimitable.

Review: American splatter horror director Eli Roth curates a spicy and seductive collection of Italian soundtrack gems, offering a deep dive into the rich and often scandalous world of Italian softcore and sexy comedies from the 70s and 80s. With tracks spanning disco, funk, bossa nova, and psych, Roth draws upon the compositions of iconic Italian film composers like Stelvio Cipriani, Bruno Nicolai, and Riz Ortolani. Highlights include Cipriani's infectious 'Nude Odeon (Ritmico Funk)' and Ferrio's sultry 'Quando Vuoi Con Chi Vuoi.' The collection, which also features rare and previously unreleased tracks, pulses with a heady mix of erotic tension and playful grooves. 'Amori Stellari' from Don Powell, with its cheeky synth-laden intro, adds a spacey touch, while Gianni Ferrio's 'La Musica E' effortlessly evokes the seductive atmosphere of 70s Italian cinema. Whether it's the funky disco beats of 'Avere Vent'anni (Disco)' or the dark allure of 'Il Sesso Del Diavolo,' each track feels like an invitation into an intimate, forbidden world. It's a soundtrack for lovers of cult cinema, irresistibly bold and full of character.

Review: Sometimes, Record Store Day releases really do come through, and this is one of them as it unearths extremely rare 1988 demo recordings from alt-rock trailblazers Royal Trux, previously only circulated on a handful of cassettes in 1998. Now available for the first time on wax, the collection captures the raw, unfiltered energy that preceded their breakthrough Twin Infinitives and features early versions of 'Walkin' Machine,' 'Cut You Loose,' 'Gold Dust' and a cover of Neil Young's 'Time Fades Away,' These demos really give you a window into the band's formative chaos and brilliance and highlight the uncompromising vision that made Royal Trux such favourites.

Review: Formed in the heart of Belfast in 1975, Rudi were the Northern Irish punk band that time forgot, eclipsed by the success of their peers in Stiff Little Fingers and The Undertones who would both go on to have major label success in the UK while sadly, apart from a few early singles released via Good Vibrations, the band would sign to The Jam's own personal record label not long before Paul Weller would call it quits, leaving Brian Young and his cohorts deflated and eventually disbanding in 1982. Captured live at the McMordie Hall, Belfast on Jan 26th 1978, this live collection showcases their New York Dolls/Johnny Thunders glam-punk inspired vision in its rawest form while coming complete with an A4 12-page booklet featuring unseen articles, photos and detailed liner notes.

Review: Rush's 1989 release marked a clear departure from the synthesiser-heavy sound of their mid-80s albums, returning to a more guitar-driven approach. Alex Lifeson's intricate riffs shine through tracks like 'Show Don't Tell', while 'The Pass' layers introspective lyrics with melodic finesse. Geddy Lee's basslines feel taut and precise, anchoring the dynamic interplay between his vocals and Neil Peart's inventive drumming. The production captures a sense of clarity, allowing the band's technical prowess to shine without unnecessary embellishments. It's a turning point in Rush's journey that bridges their progressive roots with a leaner, more direct sound.

Review: Rush's Roll The Bones reissue for 2025 brings this 1991 classic back to vinyl with a fresh coat of audio enhancement. Kicking off with the energetic 'Dreamline,' the album effortlessly blends progressive rock with more accessible, radio-friendly sounds. Tracks like 'Bravado' showcase the band's refined songwriting, balancing introspection with their signature musicianship. The title track, 'Roll The Bones,' with its groovy bassline and playful lyrics, remains one of the band's most memorable moments. This LP reissue offers both die-hard fans and newcomers a chance to hear the band's versatile sound in pristine analog form.

Review: In 1993, Rush leaned into a heavier, guitar-driven sound, stripping back the synths of their earlier work. Tracks like 'Animate' open with robust riffs and tight rhythms, setting a confident tone, while 'Stick It Out' adds a grunge-inspired rawness that reflects the shifting rock landscape of the 90s. Geddy Lee's basslines are as commanding as ever, threading through Alex Lifeson's crunching guitar work and Neil Peart's signature, intricate drumming. The production captures a raw energy, showcasing a band comfortable in reinvention without losing their edge.

Review: A 1996 classic brought back to life with a new, enhanced vinyl experience. Opening with the title track, the album presents a blend of prog-rock with more streamlined, radio-friendly elements, which defines much of the era. 'Driven' stands out as a high-energy, guitar-heavy track, while 'Virtuality' brings an electronic edge to their sound, embracing the technology of the time. This 2XLP release allows fans to revisit the album in rich analogue quality, offering a fresh perspective on Rush's evolution during the 90s, with the complex musicianship and dynamic range that made the band iconic.

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.

Review: Those with an intricate knowledge of the sadly cut-short career of the late, great New York experimentalist and leftfield disco specialist Arthur Russell will happily tell you that his most celebrated solo album, World of Echo, was not only developed over several years, but also utilised edited and chopped-up recordings of shows he performed in his home city in 1984 and '85. This release presents both of those performances in full, with Russell - performing songs to his own effects-laden cello motifs and little else - delivering sparse (but effortlessly emotive) early versions and 'sketches'. These are a mix of lesser-known songs and familiar favourites, including a haunting take on 'Let's Go Swimming', a medley of 'Hiding Your Present From You/School Bell', and the inspired 'Sunlit Water'.

Notes: Todd Rundgren performs live at the City Winery in NYC in 2012.

Available on Blu Ray for the first time ever, The Unpredictable Todd Rundgren (filmed Live at the City Winery NYC in 2012) showcased Todd's latest musical vision of a contemporary fusion of styles - rock, soul and electronica - that continued the tradition of boundary-breaking works from this visionary genius. Bonus interviews with Todd, Karim Sulton and Jesse Gress included as a treat for fans!

Region code: universal