Back catalogue: All genres

Review: Word of a sixth album from Big Thief comes with their latest track 'Vampire Empire'. First debuting live on Stephen Colbert's Late Show in March 2023, its lyrics express an inner conflict at "vampire empires", of the tendency for relationships to err towards toxic, parasitical and contingent mindsets and a rallying cry for infinite and unbroken loves. A fixture of their many live shows for at least a good few years now, we're pleased to finally be seeing the official release of this gem.

Review: There's plenty of anticipation around Big Thief's third record U.F.O.F., and we can say with confidence that it delivers on every front. A solid expansion of their last record, Capacity, U.F.O.F. for the most part goes deeper into diverse sonic territories that's emotionally raw and rich, calling to mind Elliott Smith, Joni Mitchell and various other accomplished singer songwriters especially in songs like "Contact" and "Cattails". Elsewhere, "Strange" and "Orange" provide a backing that seems more upbeat on the surface, yet the varied vocal technique of Adrianne Lenker, ranging from a whisper to a vulnerable bellow keeps us firmly captivated. The album really shines through when it reaches for slightly louder soundscapes, best heard on "Terminal Paradise" and "Jenni" (with the latter reminding us of "Washer" by Slint). All in all, U.F.O.F. will be a record that entrances you with its subtle yet haunting charm.

Review: "The album that put Bon Iver on the map is back, this time on limited white vinyl stretched across two LPs. This originally minimal, heartbreaking 9-tracker - that dealt with the shock of Vernon's best friend Heath Ledger's death, among other events - is now rounded off with 5 alternate recordings, 3 of which are stripped-down live takes on the album tracks 'Wash', 'Beth/Rest' and 'Hinnom, TX'. The remaining two come from elsewhere; 'I Can't Make You Love Me' and 'Babys', like the others, were recorded at AIR Studios by Justin Vernon and his bandmate Sean Carey, on grand pianos and vocals only.

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Review: The Moon and the Melodies, a remarkable collaboration between Cocteau Twins and ambient pioneer Harold Budd, remains a standout achievement in both artists' repertoires. First released in 1986, this enchanting album is now receiving a well-deserved vinyl reissue, meticulously remastered by Robin Guthrie from the original tapes. This album is a stunning fusion of the Cocteau Twins' signature dreamlike atmospheres with Budd's elegant, improvisational piano, resulting in a listening experience that is both expansive and deeply personal. The blending of Elizabeth Fraser's ethereal vocals, seamlessly intertwined with Guthrie's luminous guitar work and Raymonde's resonant bass, creates a sound that is both distinct and evocative. The album effortlessly balances vocal tracks with instrumentals, each adding to its rich and diverse sonic palette. This reissue offers a chance to rediscover a defining moment in the evolution of dream pop and ambient music. The Moon and the Melodies continues to stun audiences. This CD edition is the perfect vehicle to an ethereal beauty of the highest order.

Review: The Moon and the Melodies, a collaboration between Cocteau Twins and ambient pioneer Harold Budd, stands as a unique gem in both artists' discographies. Originally released in 1986, this ethereal album is now being reissued on vinyl, remastered from the original tapes by Robin Guthrie. Unlike anything else the Cocteau Twins ever produced, this record blends their dreamlike soundscapes with Budd's serene, improvisational piano work. The result is an atmospheric journey, at once intimate and expansive. Tracks like 'Sea, Swallow Me' shine with Elizabeth Fraser's otherworldly vocals, intertwined with Guthrie's shimmering guitar and Raymonde's grounding bass, creating a sound that feels both familiar and entirely unique. Instrumentals like 'Memory Gongs' and 'The Ghost Has No Home' highlight Budd's delicate piano, enhanced by the band's signature ambient textures. The album is a study in contrasts, vocal tracks sit alongside instrumentals, each contributing to a cohesive yet diverse listening experience. For fans, this reissue is a chance to revisit a pivotal moment in the evolution of dream pop and ambient music. The album's enduring appeal is evident in its continued influence in social media. The Moon and the Melodies remains a shining light that can happen when artists from different realms come together to create something truly timeless.

Review: Elena Tonra, Igor Haefeli and Remi Aguilella return as Daughter, the cherished three-piece who very much embody the contemporary sound of 4AD. Stereo Mind Game is their first album in four years (not counting video game soundtrack Music From Before The Storm, and it finds them grappling with love over long distances - a sentiment many can relate to in these post-pandemic years. There's space for introspection and joy, all delivered with the wide-reaching sound and inherent delicacy which has made Daughter so well loved by so many.

Review: Kim Deal's debut album Nobody Loves You More is a masterful culmination of years of musical exploration and collaboration, though it's not her first venture under her own name. In 2013, she self-released a five-part, ten-song 7" vinyl series, with several of those tracks reappearing here, notably 'Are You Mine?' and 'Wish I Was,' both of which date back to 2011. These early compositions were crafted shortly after Deal wrapped up the Pixies' 'Lost Cities Tour' and made the move to Los Angeles. Over the ensuing years, the album gradually took shape, with contributions from a roster of long-time collaborators and new faces alike, including Breeders members past and present, Jack Lawrence, and Savages' Fay Milton and Ayse Hassan. The final touches were recorded with Steve Albini in 2022, solidifying the album's place as a celebration of Deal's profound impact on the alternative music scene. Musically, the album traverses a broad spectrum, from the infectious energy of 'Coast' and 'Crystal Breath' to the introspective depth of 'Disobedience' and 'A Good Time Pushed.' The result is an album that highlights Deal's undeniable talent as a pivotal figure in the indie rock world.

Review: RECOMMENDED
It's safe to say that more than a few people have been waiting more than a few months for this one to finally arrive. Dry Cleaning already made a pretty significant impact with efforts like that ode to Meghan Markle, 'Magic of Meghan', a track that not everyone will agree with in terms of sentiment but most seemed united in musical love for, and 'Goodnight', which firmly positioned them in the most exciting end of British punk.

New Long Leg continues on that fine form, and in many ways elevates the game significantly. Offering ten songs that set the band's proverbial stall out clearly, the record is a demand not to be taken too seriously, even if the music itself feels like the end result of more than a decade of serious fine-tuning and boundary-pushing on the part of the band members, who lay claim to past endeavours with hardcore and indie bands, and in the visual arts.

Review: Roberto Lange is back with a new album for 4AD which feels in stark contrast to his previous outing, 2021's Far In. That album was a definite lockdown record, and now Lange is in the mood to reach out and celebrate the sunshine, funnelling his dense and dusky production and playing into some wonderfully varied songs. There's a unique sentimentality to the Helado Negro sound captured in the huge reverb tails which spiral out of songs like 'LFO (Lupe Finds Oliveros)', but there's no immediate fix for the curious charm of his dusty indie rock sound.

Review: Hips & Makers takes us back to a great time for independent guitar music. The debut album from Kirstin Hersh is deceptively quiet and unarguably powerful, predominantly made up of acoustic numbers that really speak to how strong the rock-folk crossover was at this point. Adding the inimitable voice of REM's Michael Stipe to the opening track, 'Your Ghost', only accentuates this. A million miles from 'twee', while things here are often set at a volume that encourages reflection, in other moments they explode into an earthen celebration of passion and energy. Almost carnal. 'A Loon' and its campfire yelps and whoops, 'Close Your Eyes' with its rousing chorus invoking resilience and resistance. Even the sparseness of 'The Letter' makes a huge impact.

Review: Given his rapid ascent from pioneering 'purple' producer to major player, it's perhaps little surprise to find that Joker's long-awaited (and much hyped) debut album sees the Bristolian youngster mixing typically funk-laden synth-step jams with moments of soaring dubstep pop and hip-hop funk. While it's the latter that have propelled his rise, it's the former on which he built his career. It's notable, then, that the best moments on The Vision are those that draw most from his early purple work; the contemporary P-funk of "Level 6", cyber-funk of "Milky Way" and gorgeous Herbie Hancock-does-Purple grooves of closer "Magic Causeway" are amongst the best things he's done.

Review: American indie rock band the National rach their ninth studio album with First Two Pages of Frankenstein. It makes the start of a new chapter for the hugely popular outfit as they anchor their sounds in evocative melodies and lyrical narratives that are complex and enthralling throughout. The band produced the record at Long Pond Studios in New York with some high-level guests including Taylor Swift, Phoebe Bridgers and Sufjan Stevens. It comes after busy touring years, two back-to-back albums and a period of creative block but suggests that was very much gotten over as it brings plenty of invention and originality.

Review: Forty years ago a yet unknown cult band was to release a LP that never came. Interesting enough, Rema-Rema - made up of former members of The Models and Siouxsie & The Banshees - delivered 4AD one of its first releases: Wheel In Roses (1980). All tracks from that EP, in their new wave, post-punk glory, feature on this Fond Reflections LP, a compendium of sorts detailing across 17 tracks the band's raw and unplugged sound. Collected, re-mixed and engineered by band member Gary Asquith and mixing technician Takatsuna Mukai, the result is an archival, patchwork collage of a lost but not forgotten trip down the lanes of UK folklore. Get to grips with "Fond Affections", "Feedback Song" and "Why Ask Why".