Back catalogue: All genres

Review: Big guitars playing huge hooks at a propellant pace. The Goods deliver their debut EP, which looks to decades worth of garage rock and pop punk heritage for influence, while ensuring the finished tracks are every bit theirs. Retro revivalism this isn't, a veteran singer-songwriter known for sharp lines drafting seasoned talent from his local music scene in order to make something new, this most definitely is. Headed up by Rob Good, a well-known figure in the underground Oakland guitar scene, California, for the three tracks here - and this project - he's called upon rhythm section and human drum machine Paul Wiseman and highly respected session bassist Cherron Arena. The result is an EP that's personal and passionate, and incredibly thoughtful, while also compelling and high octane. A refreshing indie whirlwind.

Review: Where do we start here? The band is called GBH, otherwise known as Charged GBH, the label Puke & Vomit, and the album City Baby Attacked By Rats. Suffice to say, if you're after blissful ambient or contemporary classical best jog on and look elsewhere, because, friend, this ain't that. In comparison, this is breakneck hardcore punk with early heavy metal touches that stops for nobody and nothing. With track names like 'Slut', 'Maniac', 'Sick Boy' and 'War Dogs', you can probably imagine how thick and fast the chords, riffs and drum rolls come, with the raw energy, rage and wit that has always made punk so damned vital here in full effect and more than a hint of early Motorhead to the pacing and lyrical flow, which should tell you everything there is to know.

Review: Probably mainly due to the latter day punk rock caricature antics of Billy Idol, Generation X's role in the revolution that overtook music in the late 70s is often overlooked. As members of The Bromley Contingent - a group of early adopters of the Sex Pistols - they rubbed shoulders with Siouxsie Sioux, Sid Vicious and others, but by 1978 they'd released this breathtakingly exciting debut album packed with three minute wonders like 'Kleenex' and 'One Hundred Punks', big on distorted power chords and velocity and low on musical showing off. Ironically, given their roots, this owes much more to the Pistols' northern rivals Buzzcocks than Rotten and co themselves, but that's no bad thing.

Review: If there was a ever a genre of music that made you feel old through its own ageing process, it's pop-punk and emo. The soundtrack to a 1001 American coming of age movies in the 1990s and, to a lesser extent, the noughties, the high energy, high-emotional quality that runs through these tunes can't help but cast the mind back to what now feels like a more innocent time. But, as the songs made clear, we were actually wrought with complicated self-doubt and uncertainty. 1999 was a peak year for this, with Blink 182, Sum 41 and Avril Lavigne vying for chart positions in the UK alongside dominant trance and dance beats. The Get Up Kids were less visible in Britain, but among the noise this Kansas city crew dropped Something To Write Home About. Achieving significant acclaim Stateside, the record would go on to influence the birth of Fall Out Boy, the Wonder Years, and Taking Back Sunday, among others.

Review:  Reading-based Garage/Punk/Psychobilly band The Go Go Cult signed to the iconic rockabilly-led Western Star label in 2012. This electrifying new album is their sixth studio record since then and it's an electrifying addition to their back catalogue. Led by a frontman who rivals The Cramps' Lux Interior when it comes to a darkly-theatrical approach, the tracklist is bursting with highlights. 'Black Is The Colour Of My Love' is hypnotic and menacing, 'When The Food Runs Out' nods to Joy Division, whilst 'Regeneration' has an air of Fat White Family about it. The label only pressed a limited number of copies, making it potentially a future collectible, not to mention its stunning, niche work of art thanks to retro illustrator Vince Ray's cover.

Review: It's 1997 and Green Day have just unveiled Nimrod, their fifth studio album, with the clear intention of trying different ideas, en masse. Rather than specifically looking to release an album per se, the band convinced Reprise Records to let them loose on what's effectively a series of singles. Lacking the coherency of a full record, the fact it still bagged universally positive reviews - with many rightly pointing to its rousing and invigorating qualities (surely a product of its shape-shifting nature) - is testament to the band's deft abilities.

It certainly showed off the outfit's ability to craft these huge, memorable hook lines and melodies, the sort of tracks that you instantly feel you know, even on first listen. Veering between folk, punk, ska and skate rock, what's here may not have had quite the same impact as Dookie, but many ways this is a more convincing argument for their legendary status.

Review: If you want to talk about landmark albums, how about Dookie? The third LP from a then-fresh faced but already-jaded Green Day represented a true 'moment' in the development of skate rock and punk, pre-empting the rise of pop punk. Casting a mind back to 1993, when the record hit, and memories prevail of record walls lined with t-shirts sporting the iconic artwork, and a sense that the future of guitar music would be anything but the overblown stadium mega rock that dominated much of the 1980s. Perhaps that never quite became the truth - Green Day catapulted this sound to the top of main stage festival bills in just a few years - but the raw energy, voice of generation X attitude still hits today. We could try and namecheck the highlights, but ultimately, from 'Burnout' to 'All By Myself', Dookie is the largely upbeat driving force of a very special time.

Review: Say what you will about Green Day's career resurgence record but 2004's American Idiot slaps far more than any hater will have you remember. While many still bemoan the band's shying away from the slacker college rock of 2000's Warning, it's impossible to deny the massive staying power that came from the ludicrous hit singles of the title-track as well as 'Boulevard Of Broken Dreams', 'Holiday' and even the nine minute opus 'Jesus Of Suburbia'. Leaning further into concept and theatricality than ever before while essentially serving as the torch bearer album that saw Green Day be passed from Generation X to the millennials of the 21st century, it's easy to understand why American Idiot has become a victim of its own success in the two decades since release, but that doesn't excuse the selective amnesia for how potent of a record it truly was upon arrival and just how prevalent Green Day became in the cultural rock music zeitgeist for an entirely new generation of anxious kids. This 20th anniversary expanded edition arrives in a 4xCD box set complete with a bonus 2xBlu-ray.

Review: This album is the ultimate treasure for fans of the legendary American rock outfit Green Day. It is a special limited edition and hand-numbered yellow marbled vinyl pressing of the band's legendary 1994 Woodstock broadcast, which has never been available on wax before. As we as the tracklist form that historic night when the band were at the height of their fame, it also includes a rare gem from Saturday Night Live with an explosive performance of 'Geek Stink Breath.' But that's not all, as it also features three ultra-rare acoustic recordings from WMMR radio making it a must-have for every Green Day nut.

Review: If Dookie was packed full of raging adolescence, last summer highs and formative experiences, Insomniac, Green Day's follow up record, marked the band moving into a new life stage, sonically and lyrically. Exploring their most punk-punk sound yet, a heavier, growlier, blood, sweat and tears-ier take on the immediately arresting, riff-focused formula that first grabbed our attention.

So it stands to reason a quarter century later things still sound powerful and pleasurable. Of course the singles 'Geek Stink Breath', 'Stuck With Me', 'Brain Stew/Jaded' and 'Walking Construction' will be more than familiar even to those who have only heard the band in passing. But the record is packed full of depth and quality elsewhere it arguably far exceeds its older, more widely remembered sibling.

Review: Much more than just a solo indie project by an alt-music darling (though it does fall under that bracket), Priests' former punk frontgirl Katie Alice Greer presents her first full-length solo LP, 'Barbarism', following a slew of EPs detailing her crazed new electronic sound. An interesting sonic take on the absence of culture or civilization, the LP is a rapturous, entirely unique bridge between indie, art and noise rock, and is packed with rippling nuances and details that make Greer's voice sound quite literally drowned. A strange, dreamy and breathtaking take on a sound that Greer's built up over years.

Review: Following on from their self-released 2022 debut EP Spiritual Disease, UK based blackened metallic hardcore newcomers Grief Ritual make good on all of their initial malevolent promise with the debut full-length Collapse. Combining the low-end, chug-heavy beatdown style of Knocked Loose with more heinous elements of extreme metal, they conjure an oppressive atmosphere that looms over every breakdown, crunching riff or guttural, tortured bellow. Exploring themes of human extinction, capitalism, genocide, ecocide, as well as the rise of populist right authoritarianism, this is as punk as it gets in ethos and message yet conveyed with more viciousness and caustic horror than any death metal act of the modern era.