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The Laughter & The Fight: Live At Chalet A Gobet Lausanne Switzerland Jun 15th 1989 FM Broadcast (LP)
Cat: MIND 875. Rel: 18 Apr 24
Folk/Americana
in stock $13.64
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Cat: UNCD 072. Rel: 16 Apr 24
Indie/Alternative
in stock $10.81
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Review: Manchester mavericks A Certain Ratio have been on a rare run of form of late, with 2023's 1982 counting as one of their most vibrant and endlessly entertaining albums for decades. Of course, all their albums are of a consistent quality, but It All Comes Down To This genuinely crackles with energy. From the word go, the veteran band's inherent funkiness is present, but this time it comes cloaked in fuzzy funk-rock guitar riffs, acid-fried effects, and vocals that are amongst the most forthright they've committed to wax (or, in this case, CD). In many ways, it is - as the band and producer/Sopeedy Wunderground boss Dan Carey intended - a 'back to basics' sound that focuses on the key aspects of ACR's sound. When those 'basics' are so strong, it's no surprise that the results are this impressive.
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Creeping On The Dancefloor (translucent blue vinyl 7" (indie exclsuive))
Cat: ICE 701. Rel: 18 Apr 24
Indie/Alternative
! low stock $11.32
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Review: Mansun's The Dead Flowers Reject, originally conceived as an insurance policy against label rejection of their experimental album Six, emerges as a hidden gem in the band's discography. Recorded concurrently with Six, this album offers a slightly less eccentric selection of songs, showcasing a more conventional sequencing approach. Frontman Paul Draper describes it as possibly his favorite Mansun album, capturing the band's live essence. Fans will relish the opportunity to experience this essential piece of Mansun's legacy in its full glory. Mansun's influence on the late 90s British music scene is undeniable, and The Dead Flowers Reject adds another layer to their iconic status. With its newfound availability on vinyl, this album solidifies its place as a crucial component of Mansun's innovative journey.
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Cat: LMS 1725046. Rel: 18 Apr 24
Indie/Alternative
Weatherall's Weekender (Audrey Is A Little Partial Mix (bonus track - Audrey Is A Little partial mix)
in stock $14.16
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Cat: 653348 0. Rel: 17 Apr 24
Folk/Americana
in stock $14.16
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in stock $11.32
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Cat: LVICCD 4002. Rel: 18 Apr 24
Indie/Alternative
in stock $10.04
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in stock $11.32
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in stock $12.10
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Cat: CL 94243. Rel: 01 Feb 24
Indie/Alternative
in stock $13.38
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Cat: RKID 010C. Rel: 12 Apr 24
Indie/Alternative
Review: Oasis's debut single, 'Supersonic' marked the band's emergence into the 90s Britpop scene. Released in 1994, the song gained significant airplay on independent radio stations and BBC Radio 1, propelling the band to prominence. 'Supersonic' embodies the band's signature sound, with its anthemic melody, raw energy, and Gallagher brothers' distinctive vocals and guitar riffs. The song has become a beloved classic, regularly featured in live performances and earning a place as one of Oasis's most iconic tracks. 2024 is the 30th anniversary of the band's first single and it's being celebrated here with this release. This edition is pressed on pearl white vinyl.
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Review: Texas-based trio Khruangbin returns with their highly anticipated album, A La Sala, blending Thai funk, psychedelic rock and world music influences. Laura Lee's funky basslines, Mark Speer's intricate guitar work, and Donald "DJ" Johnson's precise drumming define each hypnotic groove. Tracks like 'Farolim De Felgueiras' and 'A Love International' emit a laid-back aura, ideal for lazy summer days, while 'Juegos Y Nubes' adds Latin rhythms with a psychedelic twist. 'A La Sala' offers a rich journey through diverse musical landscapes, solidifying Khruangbin's mastery of genre fusion and their ability to create sonic euphoria.
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Cat: EARS 194CD. Rel: 28 Mar 24
Indie/Alternative
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Review: Jane Weaver describes her 11th solo album, Love In Constant Spectacle, as her most 'open hearted, direct and intimate' exploration of 'the British musical landscape'. It's certainly an impressive album, with the former Laura Kills vocalist fusing a wide range of nostalgic, pastoral, and analogue rich sounds, from Stereolab-esque krautrock revivalism, ;ate '60s dream pop, turn-of-the-90s indie-pop and crackly, organ-sporting folk-rock. Highlights include the deep and drowsy 'The Axis and the Seed', the fuzzy 'Is Metal', the head-in-the-clouds dreaminess of 'Romantic Worlds' and the hazy but picturesque headiness of 'Family Of The Sun'.
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Review: The eagerly awaited album A La Sala marks the return of Texas-based trio Khruangbin, seamlessly blending Thai funk, psychedelic rock, and world music influences. Laura Lee's groovy basslines, Mark Speer's intricate guitar melodies, and Donald "DJ" Johnson's precise drumming define each mesmerizing groove. Tracks like 'Farolim De Felgueiras' and 'A Love International' exude a relaxed vibe, perfect for lazy summer days, while 'Juegos Y Nubes' infuses Latin rhythms with a psychedelic twist. A La Sala takes listeners on a captivating journey through diverse musical landscapes, showcasing Khruangbin's adeptness at genre fusion and their talent for crafting sonic euphoria.
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Review: Given their Radiohead connections Thom Yorke and Jonny Greenwood make up two thirds of the band), there's always been an enormous amount of interest in The Smile - a lockdown-born project that has plenty of potential. Wall of Eyes, the trio's second album, is certainly impressive. For proof, check the moody, suspenseful and slowly unfurling title track (all pulsing, low-slung semi-acoustic grooves, eyes-closed vocals, dense electronic textures and soundtrack strings), the heady, subtly jazz-flecked wall of sound that is 'Friend of a Friend' (listen out for the music concrete-style sound collage sitting in the background of the White Album era Beatles-esque 'Friend of a Friend'), and the lo-fi, string-laden headiness of the largely beat-free 'Bending Heretic', whose cut-glass horror strings and Nine Inch Nails style guitars are impressively intense at times.
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Played by: Juno Recommends Rock/Indie
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The World's Biggest Paving Slab (limited red vinyl 7")
Cat: 582575 6. Rel: 14 Sep 23
Indie/Alternative
in stock $12.34
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Cat: PNFG 41CD. Rel: 11 Apr 24
Balearic/Downtempo
in stock $11.84
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Review: Metronomy mark their signing to Ninja Tune with a new single that comes not long after their Posse EP Volume 1, a collection of tunes all made in collaboration with up-and-coming artists like Biig Piig, Spill Tab, Sorry, Brian Nasty and Folly Group. This one is another collaboration, this time with Pam Amsterdam. 'Nice Town' deals with the lead singer's own battles such as "internal versus the external or, intangible versus the tangible." It is a delightfully snappy dance-pop ditty with great and tight synth sequences, old-school rap vocals and nice broken early electro beats. Metronomy and Alain Ogue add their own remixes to a great label debut.
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Cat: CL 94106. Rel: 04 Jan 24
Indie/Alternative
Review: Much loved emo post-punk outfit The Cure not only released several superb albums but were also a brilliant band to catch live. Over their career, they played many a seminal live show for radio or TV broadcast and now the best of them has been picked apart and collated on this new five-CD box set. The Broadcast Collection spans 1979 to 1996 and includes all your favourites like 'Killing An Arab', 'Boys Don't Cry' and 'Just Like Heaven' (in fact more than one version of some of those make the cut) next to plenty of lesser-known but no less good jams.
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Cat: TRNHC 013CD. Rel: 05 Apr 24
Folk/Americana
Review: Build Something Better by Grace Petrie, produced by Frank Turner, is a powerful statement on contemporary societal inequalities and injustices. With a blend of punk-folk elements, Grace's acoustic guitar and vocals shine, supported by Ben Moss' captivating fiddle playing and Stuart Proven's excellent drumming. The album tackles themes of alienation, political disillusionment, and the struggle for truth in a post-truth world. Tracks like 'The House Always Wins' and 'Meanwhile In Texas' confront hard-hitting issues with poignant lyrics and infectious musical patterns. Grace's songwriting ability shines through in tracks like 'King And Country' and 'Earthwire,' where personal relationships intertwine with broader social commentary. The album culminates in the title track, 'Fixer Upper,' offering hope amidst the existential threat of global crises. Overall, Build Something Better is a musically rich and lyrically profound album.
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Cat: TPTDD 015. Rel: 18 Mar 24
Indie/Alternative
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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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Cat: WIGCD 506. Rel: 21 Mar 24
Post Rock/Experimental
Review: Julia Holter has subtly shifted focus on new album (her sixth in total) Something In The Room She Moves, moving away from exploring memory and dream-like states to instead focus on (in her words) "the complexity and transformability of our bodies". To create this rather distinctive (and rather good sound world), she added her own ethereal vocals to self-created backing tracks rich in electric fretless bass, warming wind and reed instruments, and distinctive synth sounds plucked from a Yamaha CS060. The results are predictably immersive and soul-enriching, with highlights including stunning opener 'Sun Girl', the percussively inventive 'Spinning', and the pastoral, dreamy 'Evening Mood'.
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Review: During The Black Keys surprise revival of recent years, much of their music has been produced by Dangermouse. While he played no role on the duo's new album, Ohio Players - their 12th in total - his influence remains in the inventiveness of the production. The pair's new-found love of collaboration remains too, with Beck credited as co-writer on roughly half of the album's tracks. His influence is obvious in the funkiness and fuzz-fuelled psychedelia of 'This Is Nowhere' and 'Don't Let Me Go', as well as the quirky, horn-sporting cheeriness of 'Beautiful People (Stay High)' and the low-slung, effortlessly funky indie-rap hedonism of 'Paper Crown' (where he appears on vocals alongside Juicy J. The band's wholehearted love of hip-hop is also explored on the excellent Lil Noid collaboration 'Candy & Her Friends'.
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Au Zenith: Live In Paris France 28th Oct 1991 FM Broadcast (limited cassette)
Cat: TPTDD 014. Rel: 11 Apr 24
Indie/Alternative
in stock $10.81
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Review: After an extended hiatus of nigh-on five years, Vampire Weekend has finally got around to recording a new album. Only their third studio set in total, Only God Was Above Us sees the trio muse on the weight of history - their own as much as anything else - while fretting about what lies ahead for the human race. Musically, much of what's on offer is densely layered and impressively loud, with loads of intricate musical detail (check the jazz horns and mad stereo panning of 'Classical' and the string-laden, White Album-era Beatles nostalgia of 'Capricorn') working in unison with their attractive, harmonic, saucer-eyed vocals. It's a bit of a triumph all told and one that proves that there's plenty of life yet in Vampire Weekend.
… Read more in stock $13.13
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Hang On A Second: Live At The Paramount Theatre Seattle Washington October 21 1984 Fm Broadcast (limited LP)
Cat: MIND 840. Rel: 24 Nov 23
Indie/Alternative
in stock $13.64
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Cat: LCDSTUMM 98. Rel: 11 Apr 24
Indie/Alternative
Review: Mute's reissue of These Immortal Souls' sophomore album, I'm Never Gonna Die Again, has been long awaited by fans of the band's dark and brooding sound. Remastered from the original tapes by Lindsay Gravina, along with original members Harry Howard and Genevieve McGuckin at Birdland Studio, this edition breathes new sonic life into the haunting melodies and gritty textures of the album. Originally released in June 1992 after a hiatus due to Rowland S. Howard's writer's block, the album marked a triumphant return for These Immortal Souls. Lead single 'King of Kalifornia' set the tone with its gritty intensity, showcasing the band's evolution since their debut. Joined by Anthony Thistlethwaite on saxophone and slide mandolin, the band's lineup remained formidable, with Rowland S. Howard's distinctive vocals and guitar work leading the charge. Alongside Harry Howard, Epic Soundtracks, and Genevieve McGuckin, they craft a sonic landscape that was both haunting and hypnotic. For fans of post-punk and dark wave, I'm Never Gonna Die Again remains a standout in These Immortal Souls' discography. With this reissue, Mute pays homage to the band's enduring legacy, ensuring that their music continues to gain new fans for years to come.
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Review: Robert Pollard's output is still a marvel to behold in the annals of US indie rock. As the driving force behind Guided By Voices and a tangled labyrinth of other projects, he's released more music than any one person can surely keep up with. That said, such is the power of his songwriting, a one-off single can be as much of a gem as, for example, the recently released Crystal Nuns Cathedral or Earth Man Blues albums. If you're a fan of GBV then you should know what to expect to some extent, but that doesn't diminish the grandeur of both 'Alex Bell' and the B-side, 'Focus On The Flock'.
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Review: 3 Men Gone Mad were an independent group formed in Blackburn and Darwen in the UK. They fused electronic sounds with rock and were prolific in the 1990s when they became cult favourites amongst those who know. You Try is a much sought-after collection that has been restored by Utopia Records many years after it made its way onto John Peel's 1991 Festive 50. He heard in it a mix of The Clash, Joy Division and Talking Heads and that still rings true. The main mix has a raw energy that captures the angst of Britain at the time - and still today, frankly. A spaced-out dub brings a fresh feeling of euphoria and an extended B-side mix draws out this record's undeniable pleasures.
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Review: The third full-length studio album from Singaporean singer-songwriter-producer Nat Cmiel (aka yeule) released to rave reviews earlier this September, following an ethereal rollout with singles 'dazies', 'ghosts' and 'inferno' showcasing exactly what yeule excels at: worldbuilding. 'softscars' is now the 3rd instalment in one of the most exciting album runs in modern alt-pop, shifting away from the glitchy, electronic ambience of predecessor 'Glitch Princess', moving in a more rock-centric, brighter direction. This isn't to say the album doesn't have its soul-crushing moments, opening track 'x w x' closes with a defiant scream of frustration, whilst the drums, guitar and synths fight each other for dominance - bottoming out into a gentle outro sequence. The calm after the storm. We could go on about this album for hours, as a yeule fan it feels so fresh but so perfect with it's oscillating directness in delivery. Whereas 'Glitch Princess' felt like travelling through a clastrophobia-inducing tunnel at time, 'softscars' is that moment you burst out of the tunnel and are hit with a huge green vista. It's my album of the year but, hey, what do I know?
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Primitive Painters (reissue) (limited clear vinyl 10")
Cat: 10CHERRY 534. Rel: 06 Mar 24
Indie/Alternative
Review: Felt may not have made the longest lasting impact on the common conscious, but nevertheless the UK indie set struck a real chord, and are still widely seen as cult icons among those who know. As part of the deserved celebrations for equally revered label Cherry Red's 45th anniversary, we can now dive into one of the band's finest moments, with this double-A 45" single. Opening on 'Primitive Painters' it doesn't take long to realise where we are on the sonic scale. Cocteau Twins' Elizabeth Fraser in a duet with frontman Lawrence, it's rightly considered one of the great British singles of the 1980s and one of the decade's most powerful collaborations, saturated in shoegaze and dream pop while still being resolutely part of a New Wave. Meanwhile, 'Penelope Tree' on the flip opts for a janglier but no less epic feeling.
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Cat: LCDSTUMM 48. Rel: 11 Apr 24
Indie/Alternative
Review: Mute's re-release of These Immortal Souls' debut album, Get Lost (Don't Lie!), marks a long-awaited moment for fans of post-punk excellence. Remastered from the original tapes by Lindsay Gravina, along with original band members Harry Howard and Genevieve McGuckin at Birdland Studio, this edition breathes new life into the iconic record. Originally unleashed in 1987 on the heels of their debut EP, Marry Me, the album encapsulates the band's raw energy and uncompromising vision. Led by the unmistakable vocals of Rowland S. Howard, renowned for his work with the Birthday Party, the band's lineup, including Harry Howard, Epic Soundtracks, and Genevieve McGuckin, solidifies their place in the annals of post-punk history. Clocking in at a concise 30 minutes, Get Lost (Don't Lie!) remains a potent sonic statement, capturing the essence of These Immortal Souls' dark and brooding sound. From the haunting atmospheres to the frenetic rhythms, each track is a testament to the band's collective talent and creative chemistry. For both seasoned enthusiasts and newcomers to the These Immortal Souls saga, this reissue serves as a fitting tribute to a band whose influence reverberates through the underground music scene.
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Review: Few bands have sidestepped expectations as cannily as Mount Kimbie. Initially a duo but now expanded into a quartet, the British band has previously excelled in mixing, matching and fusing a wide range of experimental and left of centre electronic music influences. On The Sunset Violet, their first full-length as a quartet, they've shifted sonically once more, leaning into their indie-rock influences on a set recorded in California. The latter aspect - and the impact of being surrounded by sunshine and desert - is reflected in the warmth and haziness of the sound, which draws on the layered vocals and guitars of vintage shoegaze while also reaching for more familiar aspects of the band's previous experimental electronic sounds (for proof, check the ghostly musical vision that is King Krule collaboration 'Boxing').
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Review: Following on from 2022's critically acclaimed, Mercury Prize nominated debut LP The Overload, crossing over the bridge provided by last year's absurdist, Black Mirror-indebted eight-minute stand alone single 'The Trench Coat Museum', everyone's new favourite Leeds based post-punks Yard Act are set to capitalise on their momentous winning streak with the highly anticipated sophomore effort Where's My Utopia? Recorded in collaboration with Gorillaz member Remi Kabaka Jr handling production duties, sonically the band have opted to open their playful dynamic to as many sprawling influences as possible, simultaneously leaning into synth-laden new wave territory whilst citing Fela Kuti's political messaging and worldly psychedelia as an integral aspect. As lyrically snide and sharp as ever, the reliable brand of tongue-firmly-in-cheek socio-political commentary reaches ludicrous new heights when unpacking the band's success to date, their self-awareness of being signed to a subsidiary of a subsidiary of another soulless corporation aggressively at odds with the members' personal ethos, and even the increasing admiration/begrudgery that stems from the ascension within the eyes of their supporters. It's all clever, dense, humorous and delivered via an onslaught of razor-focused bangers. In essence, it's Yard Act.
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