Back catalogue: All genres

Review: Cleopatra Records are no strangers to collectible 7"s from the archives of Iggy & The Stooges. In recent times we've had the likes of 'The Passenger', 'Scene Of The Crime' and even a live spot with David Bowie in 1977 thrown into the mix. Now comes something which feels so right tucked up tight on a 45 - a raucous live rendition of The Kingsmen's classic beat track 'Louie Louie', a song which would go on to be a lifelong staple in Iggy Pop's performance career. On the flip comes another rarity - a blistering version of The Stooges' own cut, 'Wild Love', all pressed up on purple vinyl for your listening pleasure.

Review: Not to be confused with the 12th studio album by Mary J. Blige, or any of the other records with 'London Sessions' in the title (and there will be many, many), it's now 50 years since Iggy Pop and his Stooges sat down to record the now-legendary LP, Raw Power, with sessions taking place (you guessed it), in London. Logically, this extended player collates some of the best versions that didn't make the final cut into one place, and as such is definitely a must for diehard fans and collectors.

Not that others should be put off in anyway. We'd still recommend getting a copy of the original as it was intended to be released. The players designed it that way. But this is also a well-worth owning piece of punk rock history, with unrelenting, unpolished, uncompromising and unapologetic noise sounding as infectious today as it did back then.

Review: This six-track mini-album delivers Southern Californian punk at its best - fast, furious and packed with anthemic sing-along tracks. The new pressing comes on translucent white vinyl and includes an additional bonus track: a high-energy cover of Bad Brains' iconic 'Banned in D.C.,' originally released on a split 7? with Good Riddance. Combining raw energy with infectious melodies, this release captures the spirit of the punk scene with a fresh twist so whether you're a long-time fan or a new set of ears, this updated version offers a perfect opportunity to dive into the band's powerful and relentless intensity.

Review: Billed as a "love album", the fifth full-length from IDLES offers an entirely fresh batch of soulful buzzsaw anthems, aiming to take a further look inward following on from the apolitical, primarily introspective musings that permeated 2021's criminally underrated Crawler. Working with renowned hip-hop producer Kenny Beats yet again, who shares co-production credits with Nigel Godrich (Radiohead, Travis, REM) and the band's very own guitar wizard Mark Bowen, the collective have distilled the vital aspects of their sonic makeup, whilst eschewing any rethreads of topical malaise they've previously exorcised to its maximum potential. One spin of the grooving dance-punk lead single 'Dancer', complete with backing vocals from James Murphy and Nancy Whang of LCD Soundsystem, should be enough to illustrate the power of positivity brimming from these sessions, with frontman Joe Talbot's simple succinct summary of the record going as such - "Love is the fing".

Review: Live albums are often either pointless cash-ins or nice ways to remember watching your favourites on stage. Rest assured, IDLES haven't resorted to the former, not that anyone expected them to, and even if you weren't in Paris on the night this was recorded the 19-track set is well worth owning. If you've seen the band live you'll know nothing could compare to the ferocity, beauty, anger and power of their shows. Nevertheless, this comes close. From the brooding opening of "Colossus", capped off by Joe Talbot's speech about love and caring for one another, it's as rousing a cry for a more empathetic humanity as anyone could ask for in their front room, energy levels higher than the Bataclan ceiling for the duration. Not bad for the end of a 90-date world tour, it's both a testament to their place among punk rock's most overtly political and socially essential and a musical masterclass.

Review: Following on from 2021's exceptional, introspective fourth full-length Crawler, everyone's favourite pissed off Bristolians make their much hyped return on their fifth LP Tangks. Billed as their "love album", the project re-enlists the skills of hip-hop producer Kenny Beats (who's maintained a creative foothold within the band since 2020's raw and seething Ultra Mono), yet expands the production credits to share the desk with Nigel Godrich (Radiohead, REM) as well as guitarist Mark Bowen, marking the first time the crossdressing/well suited/three quarters-naked axeman has taken a behind the boards role. Distilling their most aggressive and accessible indulgences into one sonic wave of gratitude, IDLES appear re-focused and honed in to a task they've undertaken with sincere, shit-eating grins, and if you don't believe us, give the disco-punk banger 'Dancer' a seemingly harmless spin. Boasting nostalgic backing vocals from James Murphy and Nancy Whang of LCD Soundsystem, who tiptoe around the throated swagger of frontman extraordinaire Joe Talbot, the collective mantra of "Love is the fing" becomes ever so clear. Get on board, give Tangks, get hype.

Review: If the greatest bands evolve over the course of their career, IDLES are clearly on the right track. While the Bristol-band rose to prominence via a raw, noisy and aggressive sound that sat somewhere between post-punk and alt-rock, Tangk - their fifth album and first for three years - represents a genuine (and deliberate) tearing up of their previous trademark sound. Inspired specifically by a desire to "make people dance and make people feel", it feels like a successful attempt to move into the punk-funk/rock-rave territory previously defined by LCD Soundsystem. It's fitting then that James Murphy and company feature on standout (and recent single) 'Dancer'. The nods to the glory years of DFA Records continue throughout, with further highlights including the moody, low-slung brilliance of 'Grace' and the righteous heaviness of 'Gift Horse'.

Review: It's barely been 12 months since the release of Bristol five piece Idles' debut full length, and the band's swift follow up effort is a righteous affair, doing away with any stigma attached to difficult second albums. The heavy post-punkers take another step forward in having the world realise their full potential straight off the bat with album opener "Colossos" that epicly, post apocalypticly, rattles and hums in swathes of drone and rock menace. Cue a quick change up in direction and we're met with what sounds like a lairy Kasabian smashing up the pub. Beer, sweat and tears. Let's 'ave it.

Review: It's barely been 12 months since the release of Bristol five piece Idles' debut full length, and the band's swift follow up effort is a righteous affair, doing away with any stigma attached to difficult second albums. The heavy post-punkers take another step forward in having the world realise their full potential straight off the bat with album opener "Colossos" that epicly, post apocalypticly, rattles and hums in swathes of drone and rock menace. Cue a quick change up in direction and we're met with what sounds like a lairy Kasabian smashing up the pub. Beer, sweat and tears. Let's 'ave it.

Review: Despite being at the centre of one of rock's tensest social media dramas in recent history - having been called out by Fat White Family for being too middle-class for their own image - Idles are back on top, thanks to their new album 'Crawler'. Taking a chance on their own criticisms, this album is more introspective than 'Ultra Mono', revealing the band's various wrestlings with addiction and desperation. In true post-punk fashion, it's an emotive sophomore development from lead brain Joe Talbot, spanning plod-rap grungers ('Car Crash') and dark disco-rock ('When The Lights Go On'), all giving off his signature brand of hopeful nihilism, with the ultimate message that 'the show must go on'.

Review: Despite being at the centre of one of rock's tensest social media dramas in recent history - having been called out by Fat White Family for being too middle-class for their own image - Idles are back on top, thanks to their new album 'Crawler'. Taking a chance on their own criticisms, this album is more introspective than 'Ultra Mono', revealing the band's various wrestlings with addiction and desperation. In true post-punk fashion, it's an emotive sophomore development from lead brain Joe Talbot, spanning plod-rap grungers ('Car Crash') and dark disco-rock ('When The Lights Go On'), all giving off his signature brand of hopeful nihilism, with the ultimate message that 'the show must go on'.

Review: Bristol's heavy post-punk groups Idles present their first full length album after a slew of records dating back to 2012. Brutalism collects the best of the bands antics, from vocals that shift from wailing snarls and smokey mob calls to punkish drawls, or the more spoken word and poetic emotional ballad that is album closer "Slow Savage". Guitars can thrash away or chill out melodically in the background, with the character of this album's songs striking up a familiar feeling of late-'90s punk to mid-2000s indie. Album highlights for us include "Mother", a song championing one woman's die hard working week, to the screeching, distorted anthem "Stendhal Syndrome".

Review: Scene Of The Crime serves up a remastered compilation of previously unreleased rare studio recordings from Iggy & The Stooges. All recorded in 1973; the same year the band would distil the frustration of their initial 1971 break up, their subsequent return upon Iggy failing to pin down adequate replacements, as well as the unchecked ego, rife drug abuse and tour burnout, into the blistering classic we now know as Raw Power. Remastered to their highest quality yet, and boasting alternate takes of gems such as 'Cock In My Pocket', 'Tight Pants,' and 'I Got A Right', this is a must-have slice of rarity for any devout Stoogist.

Review: Iggy Pop, the avant-garde icon and punk pioneer, in his element, delivering a blistering performance at the 2023 Montreux Jazz Festival. Backed by a seven-piece band, he breathes new fire into Stooges classics like 'TV Eye' and 'I Wanna Be Your Dog', igniting the crowd with his raw energy and undeniable stage presence. The setlist spans his illustrious career, from the visceral punk anthems 'Raw Power' and 'Search and Destroy' to the infectious grooves of 'The Passenger' and 'Lust For Life'. Pop also showcases material from his recent album, 'Every Loser', with tracks like 'Modern Day Ripoff' and 'Frenzy' seamlessly integrated into the set. This recording is a testament to Pop's enduring legacy and his ability to captivate audiences with his unique blend of punk rock and avant-garde theatricality.

Review: Iggy Pop's performance at the 2023 Montreux Jazz Festival is a thrilling showcase of both his legendary past and revitalised present. Marking his third appearance at the prestigious event, Iggy delivers a fiery set with a seven-piece band, reinvigorating Stooges classics like 'I Wanna Be Your Dog' and 'T.V. Eye', while captivating the crowd with solo anthems such as 'Lust for Life' and 'The Passenger'. The show also features new material from his recent album Every Loser, including 'Modern Day Ripoff' and 'Frenzy', proving his ongoing relevance in the rock scene. Recorded with pristine multi-track audio and complemented by stunning 4K visuals, the concert blends the raw energy of vintage Iggy with the vitality of his current creative resurgence. This live recording captures a moment of remarkable musical power, reaffirming Iggy Pop as one of the most dynamic and enduring figures in rock music.

Review: Recorded in 1975 after the disintegration of The Stooges and eventually released, albeit in altered form, in 1977, the album saw Iggy recording his vocal contributions at weekends, on leave from the mental institution at which he was recovering from heroin addiction. With the addition of pianos, acoustic guitars and saxophones to the musical palate it's a different beast from the raw power - and Raw Power - of the Stooges, a bridge between his garage rock roots and the classier pop offerings he'd soon become known for. A fascinating document, regardless, it's well worth a listen.

Review: Italia 90, named after Italy's football team in the 1990 World Cup, are a post-punk band from London. Their debut album 'Living Human Treasure', released on Brace Yourself, showcases the band's politically charged lyrics and taste for wonky rhythms, channelling the band's anarchic, no-effs-given influences such as The Fall and Gang of Four. Fans of angular guitars and ironic '80s not-stalgia will appreciate this debut, and one could easily make comparisons to Still House Plants or Gentle Stranger.