Back catalogue:

Review: Thurston Moore's ninth solo album, Flow Critical Lucidity, showcases his eclectic artistry with a blend of European and UK influences. Released under Daydream Library Series, the album draws lyrical inspiration from nature, lucid dreaming, and modern dance, evoking a vibrant, introspective journey. Recorded at Total Refreshment Studios in London and mixed at Hermitage Studios, the album features the single 'Sans Limites,' whose title phrase lends itself to the album's thematic depth. The cover art, 'Samurai Walkman' by Jamie Nares, complements Moore's avant-garde style, reflecting a longstanding artistic partnership rooted in New York's No Wave movement.

Review: Supposed Former Infatuation Junkie stands as Alanis Morissette's most intriguing album. Following the massive success of Jagged Little Pill, which became the tentth best-selling album of all time, Morissette faced immense pressure to replicate its style, but Supposed Former Infatuation Junkie landed like an autumn leafilargely unnoticed but deeply affecting. The album is a complex collection, often pulling Morissette in various directions, making it less cohesive. Morissette's voice remains its strongest feature, resonant and more mature than on her previous work and tracks like 'Baba', with its pre-nu-metal fury, and 'That I Would Be Good,' a heartfelt ballad, showcase her considerable range. 'Thank U' and 'UR' hint at the direction of her next album, while 'Would Not Come' explores trip-hop influences. Morissette's most compelling work and definitely worthy of rediscovery.

Review: Blending jazz, blues, and rock elements, the Morphine's sound was anything but conventional, thanks to Mark Sandman's two-string bass, Dana Colley's baritone sax and the distinct rhythm provided by drummers Jerome Deupree and Billy Conway. Co-produced by Paul Q. Kolderie (Pixies, Radiohead), Sandman and engineer Steve Folsom, this album captures Morphine's lush and immersive sound, creating a deep, noirish atmosphere that would become their signature. The album's standout tracks, like 'Buena' and 'Thursday', show Sandman's knack for lyrics that teeter on the edge of danger and ambiguity. 'Candy' offers a glimpse of vulnerability, while the title track balances tension with a flicker of hope. Colley's sax often doubles as a one-man horn section, adding both visceral intensity and ambient texture. Sandman's haunting vocals and inventive bass work, paired with Colley's occasional simultaneous play of both baritone and tenor sax, made Morphine's sound truly singular. This 2024 Run Out Groove remastered edition brings new life to the album more than 30 years on from its initial release.

Review: Morphine were far from your average rock & roll band. Combining elements of jazz and blues with more traditional guitar arrangements, all played with what has been described as "an idiosyncratic set of instruments", to say their sound was unusual - somehow sexy and morose, introspective and compelling - would be an understatement. B Sides & Otherwise, as the title suggests, allows us a moment or 12 to indulge in the group's lesser known feats of musical genius. From live radio broadcast recordings, through to almost-made-the-album tracks, this is a great insight into just what an incredibly unique band they were, not to mention wholly innovative. Many elements and techniques here would come to be adopted by the mainstream in later years, marking the troupe out as well ahead of their time.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Morrissey's Beethoven Was Deaf gets a 30th-anniversary reissue, remastered at Abbey Road Studios and available on various formats, including orange vinyl version. Originally released in 1993, this live album captures Morrissey's performance at the Paris Zenith on December 22, 1992, during the Your Arsenal tour. eethoven Was Deaf includes a robust tracklisting of 16 songs, blending hits and fan favourites, with highlights including a searing rendition of 'November Spawned a Monster,' Your Arsenal album cuts like 'You're the One for Me, Fatty' and 'The National Front Disco', and the enduring 'Suedehead', his debut solo single. The remastered edition features updated artwork by Morrissey himself.

Review: Morrissey's Beethoven Was Deaf gets a 30th-anniversary reissue, remastered at Abbey Road Studios and available on various formats, including orange vinyl version. Originally released in 1993, this live album captures Morrissey's performance at the Paris Zenith on December 22, 1992, during the Your Arsenal tour. eethoven Was Deaf includes a robust tracklisting of 16 songs, blending hits and fan favourites, with highlights including a searing rendition of 'November Spawned a Monster,' Your Arsenal album cuts like 'You're the One for Me, Fatty' and 'The National Front Disco', and the enduring 'Suedehead', his debut solo single. The remastered edition features updated artwork by Morrissey himself.

Review: Morrissey's live album Beethoven Was Deaf captures the legendary artist at his peak, delivering a raw and powerful performance from tour supporting Your Arsenal, considered by fans to be among his best. The album stands out for its energy and intensity, enriching the already robust force of his studio recordings. It opens with a fast-paced rendition of 'You're the One for Me, Fatty' and maintains its vigor through to the feedback-laden conclusion of 'National Front Disco.' The performance is formal yet lucid, avoiding unnecessary crowd noise and on-stage banter, making it feel like a new Morrissey record rather than just a concert document. Tracks like 'Seasick, Yet Still Docked' maintain the studio's delicacy, while 'Jack the Ripper' showcases Morrissey's ability to blend irony with earnest emotion. The latter half of the album tightens the performance, building intensity from 'I Know It's Gonna Happen, Someday' to 'We'll Let You Know,' culminating in a triumphant 'Suedehead.' 'Beethoven Was Deaf' confirms Morrissey's status as one of the great performers of the post-war period, offering a complete and classic live album experience.

Review: Morrissey's live album, Beethoven Was Deaf, originally released in 1993, has been remastered at Abbey Road Studios and is set for reissue. Recorded during the Your Arsenal tour in Paris in 1993, the album captures Morrissey at his best, performing large chunks from that album - the likes of 'Glamorous Glue' and 'Certain People I Know' noticeably inspired by glam rock - alongside favourites like 'Suedehead' and 'Everyday is Like Sunday' and other classics from the earliest phase of what turned out to be a lengthy solo career. The remastering promises to enhance the listening experience, offering fans a chance to rediscover one of his more vibrant and expressive live performances.

Review: Daffodils & Dirt, the debut album by Samantha Morton and Richard Russell, is a brooding and poetic exploration of Morton's troubled past and raw emotional experiences. With Russell's production prowess, the duo creates an unsettling yet captivating musical landscape that delves into themes of resilience and vulnerability. Morton's haunting vocals, coupled with Russell's sparse yet evocative soundscapes, transport listeners into the depths of her teenage years, where she grappled with homelessness and instability. The album's collaborations with artists like Jack Penate, Laura Groves, and Ali Campbell add unexpected layers of depth and beauty to the already compelling narrative. The album is a mesmerising blend of haunting melodies and raw emotion, inviting listeners to journey alongside Morton as she navigates the complexities of her past.

Review: Vancouver five-piece Mother Mother have been beneficiaries of Tik-Tok's ability to spontaneously breathe new life into songs that were seemingly past their peak. 'Hayloft', 'Arms Tonite', 'Wrecking Ball' and 'Burning Pile' from album (originally released in 2008) went viral in 2020 thanks to user-generated content. 'Hayloft' is the most overt banger on here and straddles the line between experimentality and pop mainstream very well. 'Arms Tonite' has a more off-kilter feel and is melodically and compositionally assured and justifiably done incredibly well. 'Burning Pile', which Tik Tok users will recognise from the so-called lighter transition challenge, has a palpable sense of nostalgia and defiance that will lift anyone who has the fortune of hearing it. Mother Mother's flame shows no sign of dimming anytime soon.

Review: Mount Kimbie's The Sunset Violent offers a deeply evocative, unsettling exploration of emotional dissonance. Opening with the single 'Dumb Guitar', the album vividly portrays a couple grappling with their fractured relationship amidst the beauty of a fictional Chinese beach resort. Andrea Balency-Bearn's serene vocals juxtapose against lyrics of personal turmoil, while buzzy synths, discordant pianos and overdriven guitars evoke an atmosphere of tension and heartbreak. Mount Kimbie, led by Dom Maker and Kai Campos, have expanded their lineup, adding Balency-Bearn and Marc Pell, crafting a post-punk sound with corroded guitars and skeletal drums. Their sonic evolution from their earlier work culminates here, drawing from influences like Sonic Youth and The Fall, while frequent collaborator King Krule contributes to the melancholic undercurrent. Recorded in California's surreal Yucca Valley and pressed on translucent petrol blue vinyl, this album mirrors the desolation and hope of the landscape. Tracks like 'Yukka Tree' and 'Fishbrain' dive into themes of isolation and disconnection, balancing dark tones with flashes of light. With The Sunset Violent, Mount Kimbie stretch their horizons, blending post-punk, dub, and indie influences into a compelling emotional journey.

Review: Mrcy, the duo of producer Barney Lister and vocalist Kojo Degraft-Johnson, fuse soulful self-expression with a modern sensibility. Drawing from their distinct backgrounds, they blend Marvin Gaye's warmth with the genre-defying sounds of Anderson .Paak. First connecting over Instagram during the pandemic, their music reflects both individual perspectives and shared experiences. Debut single 'Lorelei' captures this essence, with their upcoming project, 'volume 1', offering a mix of commanding vocals, empathy, and compassion. Mrcy's music is a personal yet universal exploration of soul, grit and the magic of everyday life.

Review: MRCY, the r&b/soul duo of Barney Lister and Kojo Degraft-Johnson, return with Volume 2: a bold, emotionally charged collection building on their acclaimed debut. Blending timeless influences with modern textures, their music offers comfort and unpredictability. "We're trying to extinguish fear with optimism and worry with love," Barney explains. This ethos runs through the album, from the uplifting grooves of 'Angels' and 'Wanna Know (Ontario)' to the driving rhythms of 'Man', which challenges ideals of masculinity over Afrobeat percussion and jazz flourishes.

Review: Fearsome garage rock / grunge punk foursome Mudhoney, active since the late 1980s, juxtapose their latest record Plastic Eternity - which laments the plight of humanity - with a complementary reissue of their breakout debut record, which documents the relatively carefree mode that defined them from their early days onwards. The indie quad squad - made up of vocalist Mark Arm, guitarist Steve Turner, bassist Guy Maddison, and drummer Dan Peters - are best known for their crusted sludge-punk sound, and this reissue is a working reminder of this fact, one that landed them squarely in deathless annals of grunge history; many of the tracks on Mudhoney, especially the Blue Cheer cover 'Magnolia Caboose Babyshit', are considered pioneering of the later mainstream sound. The record is sickeningly fast, shreddy and road-hardened, but a closer listen, especially to the mixes thereon, hears it also house an early stirring of the purply/neon sonic haze that would also go on to define the indie pop music emergent shortly after that time.

Review: In 1993, as grunge dominated the airwaves, the Muffs emerged as a refreshing alternative. Formed by Kim Shattuck and Melanie Vammen, both formerly of the Pandoras, along with Ronnie Barnett and Criss Crass, the Muffs brought a lively energy that contrasted sharply with the era's grunge monotony. Shattuck's vocals, oscillating between sweetness and a snarling, almost wolf-like howl, became the band's defining feature. Their debut album, produced by Rob Cavallo - later known for Green Day's success - delivered a crisp, beefy sound perfect for their pop-punk style. From the opening chords of 'Lucky Guy,' it was evident that Cavallo had nailed the production, emphasising the right amount of treble in the guitars. Drawing inspiration from the Ramones but infusing it with their unique twist, the Muffs crafted an array of catchy, acerbic songs. Shattuck's biting lyrics and dynamic voice paired seamlessly with the pop-punk melodies. Tracks like 'Big Mouth' and the joint vocal piece 'Stupid Jerk' highlighted their knack for direct, memorable music. The album also featured diverse influences, from the Beatles-esque 'Another Day' to the garage-tinged 'I Need You.' The reissue of this album includes a bonus disc of demos and unreleased tracks, making it a special treat for fans. Thirty years on, the Muffs' debut remains vibrant and fun.

Review: The long-awaited follow up to 2018's Delta, London indie-folk megastars Mumford & Sons return after a seven-year gap (their longest between releases yet) to chart a course back to their original path. Titled Rushmere after a pond located at Wimbledon Common in London, where the band was first formed and music was conceived, their fifth LP marks their first as a trio, following the departure of Winston Marshall in 2021 (who for some bizarre reason opted to allow his politics to prioritise his success and now makes appearances on Fox News). Where the members had gone to lengths previously to shy away from their folk-pop stylings in search of a "new sound", here it's evident that Marcus Mumford and his cohorts have finally become comfortable with their position within the modern music landscape, dusting off the obligatory banjo for the triumphantly anthemic title-track, while the melancholic 'Where It Belongs' utilises weaving, minimalist acoustic melodies and deeply affecting vocal harmonies to conjure a sense of quiet acceptance. In short, this is the most Mumford & Sons the troupe have sounded since their acclaimed 2009 debut Sigh No More.

Review: The Murder Capital sit at the forefront of a new wave of indie that's sprung up out of the Dublin scene after Gilla Band smashed the door down. The band are no longer Dublin-based, but spread out across Ireland, London and Berlin. They grouped together, though, for the recording of their third album in LA, steered by wise Grammy-winning producer John Congleton. The album has this frenetic sensibility running through it and it's what makes them such a powerhouse live act. 'The Fall' is guttural, raw, widescreen and teeming with ambition; 'Words Lost Meaning' is dirtier and wouldn't be amiss in The Kills' set with its sulky, fuzz-laden bass riff offering plenty of swagger. While 'Can't Pretend To Know' is more Nine Inch Nails with noisy tremolo picking on the guitar offering a grandiose backdrop for the charismatic lead vocal. They've leant into their mainstream aspirations here and sound ready to take on the world.

Review: The Irish music scene has rarely been in such rude and varied health. From Galway to Dublin in the South, up to Belfast and Derry in the North, Great Britain's smaller and - arguably - greener little sibling is making a lot of interesting noises right now. Each seems to be as captivating as the next, although few tear out of the starting blocks with anything like the intensity and energy, anger and tumultuous emotion as The Murder Capital. Blindness is album number three, following on from a debut that hit number two in the Irish charts and 18 in the UK, and a second - Gigi's Recovery - that achieved the number one spot in the group's homeland and 16 in the UK. We'd be shocked if part tres didn't do better. Always immediate and packed with personality, we finally hear the culmination of those preceding years. From post punk chug distorted through the fizz and crackle of humanity, though quieter moments deliver even more devastating blows, shades of everyone from The Killers (at their creative peak) to The Watchmen, Pixies, PJ Harvey, Savages and Idles ring crystal clear.

Review: Origin of Symmetry is still the most cherished Muse album by most fans and this live performance of their festival set at Bizarre Festival in Germany captures the Devon rock trio playing songs from it before it was released. The singles 'Plug In Baby' and 'New Born' are on here, as are their debut album Showbiz's best songs 'Muscle Museum' and 'Sunburn. It's truly a mouth watering setlist that makes it understandable how they went from the moderately sized band they were then to one of the biggest bands in the world.

Review: Mxmtoon is a self-made superstar. She's brought the world's attention to her art through being compelling as a Youtuber and Twitch stream icon. Off the back of her endearing social engagement and community building abilities, now she has a fully-fledged music career and is touring the globe. And it all started in her bedroom. Although her audience has grown considerably since she first started out home broadcasting, her personable charm and intimate singer-songwiter style remains intact on Liminal Space, which is Mxmtoon's third studio album. That said, Mxmtoon hasn't been afraid to experiment with arrangements in the studio and embellish that folk-pop core. 'I Hate Texas' is a soaring pop ballad with an atmospheric wall of sound begging for rotation on daytime radio. Elsewhere, the gentler numbers, 'Rain' and 'Elevator', are steeped in Americana, which offers a ye olde charm to the otherwise breezily modern pop sound.

Review: Originally released in 2004 as their sophomore full-length, Three Cheers For Sweet Revenge would change both the career trajectory of New Jersey goth-punks My Chemical Romance whilst simultaneously turning the genre on its head with its unique fusion of macabre Misfits and Alkaline Trio worship married to the stadium-sized hooks and melodies of Blink-182 and Green Day. While it would be 2006's follow up The Black Parade that would turn the band to alt rock giants, it all started here with the iconic pop-punk banger and hit single 'I'm Not Okay (I Promise)', whilst later singles 'Helena' and 'The Ghost Of You' highlighted their expansive melding of emo, post-hardcore and punk rock, elevated by vocalist/lyricist/graphic novel illustrator Gerard Way's uniquely grim vision and Billy Borgan-esque vocal cadences. Certified Platinum less than a year after initial release, and selling 3 million copies in the US alone, this new deluxe edition features an entirely new remix plus four previously unreleased live recordings.

Review: My Morning Jacket seem to just get better and more popular with age. They look and sound the part even now when they're ten albums in. The Louisville psych-tinged soft rockers have a knack for creating spiritually uplifting and soulful tunes that are a balm for hard times and across the ten tracks here leave no fat on the bone - it's a concise collection with the hairs trimmed thanks to an outside producer being involved. Pearl Jam, Rage Against The Machine and Bruce Springsteen big time rock producer Brendan O'Brien was at the controls, which is something of a rarity for My Morning Jacket as they usually self-produce. Of the songs on here, the single 'Time Waited' is instantly memorable and holds a beautiful sentiment as it's about "how flexible time is, how we can bend and warp time, especially if we are following our hearts, the universe and time itself can flow to work with us." Moreover, 'Half A Lifetime' is a jerky feel-good hit that's a welcome summer banger for road trips in a convertible.

Review: There's something refreshing about an album press release that goes out of its way to tell you a band has been around for 25 years, a quarter century no less, building a significant cult following in that time, but have also gone out of their way to sustain "all the curiosity and creative hunger of their very earliest days." So - hats off to Louisville, Kentucky five-piece, My Morning Jacket. The band's first album in four years is their most refined and regal in sound, but that needs to be understood in wider context. My Morning Jacket are known for heavy rock out shows, infused with blues, rockabilly, stoner, sludge metal and Americana. Raw is what they do, and the sense of them just turning up at the studio and getting down and dirty to record another stunner is alive and well here. They're just not afraid to flash a little production spit and polish in the process.

Review: The second album by British alt-rockers the Mysterines, Afraid of Tomorrows, is the sophomore grunge outing by the Merseyside band, formed of Lia Metcalfe, George Favager, Callum Thompson and Paul Crilly. Inspired in part by the legendary New York music and arts scene documentary film Meet Me In The Bathroom - in which legendary performances by the likes of LCD Soundsystem, The Strokes, Interpol and Yeah Yeah Yeahs feature - Afraid of Tomorrows is edgy and cuspy to match, thematically reflecting on the changing face of music and the structures that house its promotion in the modern day. Building on lead singl 'Stray' and following their debut record, the band reflect on increasingly relevant themes of anxiety and paranoia, not to mention being led astray by moments of vulnerability, which pair well with the stern and minimally driving sonics heard throughout.