Back catalogue: All genres

Review: Billy Idol, one of the most iconic figures in British rock history, has returned with his first full-length album in over a decade. Known for his punk roots as a member of Generation X and subsequent MTV-era persona, Idol has constantly evolved, blending his early rebellious spirit with a more reflective, mature approach to life and music. This latest release captures that transformation, offering a blend of punk rock energy and introspective storytelling. Idol's partnership with longtime guitarist Steve Stevens continues to define his sound, while collaborations with rock legends Joan Jett, Avril Lavigne and Alison Mosshart further solidify his place at the forefront of rock's new generation. Having emerged from the early days of British punk, Idol's legacy spans decades, and this new record marks both a personal reflection and a return to form.

Review: Counting Crows' sequent 2021's Butter Miracle: Suite One with The Complete Sweets! Now expanding on the themes of its predecessor, the record hears all four tracks from Suite One alongside five new songs, blending this heartsick Berkeley, CA band's signature storytelling with sweeping melodies and raw emotion. Leading the charge is 'Spaceman In Tulsa', a striking single that not only marks their first new music in nearly five years, but appropriately concerns itself with the theme of metamorphosis - "the way music breaks down who we were and spins us into something new. It's about broken lives becoming something better," in the words of frontman Adam Duritz. The record coincides with a fresh tour kicking off in Nashville in Spring 2025, with stops across North America and Europe.

Review: Seven strong San Francisco rock band Counting Crows have always walked a fine line between intimate storytelling and grandiose soundscapes. This time - taking the four tracks from their Butter Suite pt 1 Ep and adding five more new tracks - they sound like a band utterly in control of their own narrative. Adam Duritz's lyrics reflect a certain self-assurance as they weave through themes of reinvention and regret. Musically, the band brings a tighter, more focused intensity, merging rock, folk and even hints of alt-country with the ease of a band at their peak. 'Spaceman In Tulsa' takes its time, unfolding languidly, savouring every detail before pushing forward. And in moments like 'Boxcars,' it's clear this is the most cohesive they've sounded in years, with every instrument serving the story rather than competing for attention. They've done the work, and now, it's all paying off.

Review: Angus from Australian indie folksters Angus and Julia Stone has an unearthly beauty to his voice so we're always partial to checking out what he's turned his hand to. This is his fifth studio album under his moniker Dope Lemon and it follows his acclaimed 2023 album, Kimosabe. There's certainly an axis between 'Golden Wolf' and some of the early Angus and Julia Stone, but with more of a Killers-esque rock engine to it. Elsewhere, 'Electric Green Lambo' takes us on a detour through some funky, soulful grooves that would suit blazing a cigar in the Havana sun. And the sleek 'Sugarcat' has the strongest beat of the set and it's a guaranteed mood bump every time you hear it.

Review: Now reissued on vinyl, this 1999 album from veteran solo crooner and former Roxy Music frontman sees him in full command of his cabaret croon and vintage sensibilities, diving headlong into a collection of pop standards from the 1930s and 40s. Known for reshaping rock and pop songs in his own image, Ferry here takes a more classical routeinot to reinvent, but to evoke, with renditions rendered with delicate, period-authentic arrangements: intimate string sections, lilting piano and subdued brass, as Ferry's famously tremulous voice drifts like perfume through the arrangements. He approaches standards like 'Lover Come Back To Me', 'I'm In The Mood For Love,' and 'You Do Something To Me' with characterstic effortlessness, and rather than sounding like a museum piece, As Time Goes By feels lived-in and cinematic. A smooth, sepia-toned reverie.

Review: There's something timeless about the way this veteran UK singer carries himself and this 2010 album, now reissued on striking red vinyl, makes that all the more clear. It feels like a continuation of the Roxy Music legacy in spirit, mood and style, with that familiar air of suave detachment and immaculate detail, with a production styler that's lush and forward-thinking, bridging classic lounge-pop stylings with modern textures that still sound fresh over a decade later. The sleekness is no accident - every element is meticulously placed, from the glossy synths to the hushed guitars and orchestral flourishes. 'Shameless' is one of the more adventurous tracks, pulling in electronic flourishes courtesy of Roots Manuva. It's a bold move that actually works, blending suave vocals with a beat-driven framework that never feels forced. The real surprise, though, is the version of 'Song to the Siren' - a haunting, fragile take on the track made famous by Tim Buckley and This Mortal Coil alike, that shows just how much weight his voice can carry with minimal backing. Easily one of the most affecting covers in his catalogue. 'Tender Is The Night' rounds out the highlights with a melodic, romantic glow. There's an added layer of interest with Brian Eno - a Roxy member in its early days - contributing, creating a sense of full-circle collaboration. The sound of a seasoned artist evolving gracefully, without losing the qualities that made him magnetic in the first place.

Review: Led by Edinburgh-born Los Angeles-based 90s superstar Shirley Manson, Garbage have emerged from dark, troubling times to present a new album. The follow up to 2021's No God No Masters was originally intended for release in 2023, but got put back, reportedly due to Manson's surgeries, writer's block and the death of her pet dog. Those who've kept patient, however, are in for a treat: it's a life-affirming record that stands tall in the transatlantic group's storied oeuvre. Ever the sharp critical thinker, the lyrics to lead single 'There's No Future In Optimism' remind us to grab life by the horns and feel unburned by darkness for a moment - it's a message we need from our popstars and it's a nice respite from the cranky punk music that's saturated our radio waves over the past few years.

Review: This is the first album in four years from Scot-fronted Los Angeles band Garbage and their eighth studio album total. The previous album, No Gods No Masters, delved into some heavy sociopolitical themes, which were given a lot of attention because it came out amid Covid. With this album, as the title gives away, there is a shift towards more positive thinking, even if some seriousness remains. The single 'There's No Future In Optimism' reminds us to grab life by the horns and feel unburned by darkness for a moment - Shirley Manson clearly remembering the joy of pop and the hope it can bring, despite geopolitical uncertainties. Sonically, they've crafted very powerful electronica-tinged rock, with a brilliant emphasis on rhythm, the joys of a well constructed beat and some gritty bass.

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


Motley Crue's Dr. Feelgood, celebrating its 35th anniversary with a special reissue on red and white splattered vinyl, stands as a pivotal moment in the band's career. Released in 1989, the album marked a fresh direction, with the band newly sober and working under the meticulous production of Bob Rock. His attention to detail elevated their sound, pushing them to refine their performances and embrace a more polished, melodic approach. The result is a powerful fusion of hard rock and commercial appeal, highlighted by iconic tracks like 'Dr. Feelgood' and 'Kickstart My Heart'. Mick Mars' razor-sharp guitar riffs, Nikki Sixx's prominent bass, and Tommy Lee's pounding drums all contribute to the album's electrifying energy. Vince Neil delivers some of his most dynamic vocal performances, particularly on the ballad 'Without You' and the infectious 'Don't Go Away Mad (Just Go Away)'. Lyrically, Dr. Feelgood shows the band's newfound maturity, with songs like 'Time for Change' revealing a more introspective side. Yet, they don't stray far from their trademark themes of sex and rebellion, seen in tracks like 'Rattlesnake Shake' and 'She Goes Down'. The album solidified Motley Crue's status, topping charts and proving they could evolve without losing their edge. Dr. Feelgood remains a defining work in their legacy.

Review: In 1984, Gary Numan launched Numa Records and started a new phase in his career with the release of Berserker. This album introduced a harder-edged digital sound into his canon while maintaining the analogue textures of his earlier work. It's a testament to the fact that Numan's creative evolution never stopped and blends both personal and fictional narratives into haunting tracks like 'My Dying Machine,' 'This Is New Love' and 'Berserker.' The remastered double vinyl edition includes the original album with bonus tracks that add extra perspective to this pivotal period in his career.

Review: Toronto's PUP are your favourite modern punk band's favourite modern punk band. Over the past decade, they've delivered one consistent album of bangers after the next, and now they return three years on from 2022's The Unraveling Of PUPTheBand to prove that title as mistaken information. Who Will Look After The Dogs? serves as the fifth full-length from the debaucherous yet heartfelt Canadians, stretching their sonics as far as their palettes, pulling from both more radio-centric college rock and simultaneously much heavier hardcore this time around, while once Bomb The Music Industry lynchpin and nowadays punk rock troubadour legend Jeff Rosenstock makes an appearance on latest single 'Get Dumber'. Not so much the "Pathetic Use of Potential" that PUP still claim to be.

Review: Hailing from The Gret White North's Toronto, PUP (Pathetic Use of Potential) are your favourite current punk band's favourite current punk band. Originally formed in 2010, the past decade and a half has seen the group deliver one consistent album of bangers after the next, with their new fifth full-length Who Will Look After The Dogs? arriving three years on from 2022's The Unraveling Of PUPTheBand, proving that prior titular statement to be mistaken information. Expanding their sonics as far as their musical palettes, the LP showcases the debaucherous yet earnest Canadian troubadours pulling simultaneously from both more radio-centric college rock as well as more intense hardcore this time around, while modern punk legend (and once Bomb The Music Industry lynchpin) Jeff Rosenstock makes a standout appearance on the latest single 'Get Dumber'. Gritty, melodic, and sincere, all within the same breath (or verse), it's a tough year for any punk band to compete whenever PUP rear their grimy head.

Review: Originally released in 1982, Upstairs At Eric's marked the arrival of a duo as timeless as they were era defining, capable of capturing the very essence of an emerging, tech-driven music scene while also writing tracks that still sound incredible today. Many of which have been repurposed, sampled and remixed to the ends of the Earth and we're still not bored. Produced by the two band members, Alison Moyet and Vince Clarke, alongside Daniel Miller, boss of Mute Records, the legendary British label that first carried this, we shouldn't need to namedrop tracks here - Upstairs At Eric's is, frankly, the landmark synth-pop record. Just in case, though, think 'Don't Go', 'Goodbye 70s', and 'Only You'. And that's before we get into the lesser radio-played gems.