Back catalogue: All genres

Review: There are seemingly no limits to the music Emotional Rescue will put out. This time they look back to the post punk scene of Bristol in the early 80s. Mouth was a short-lived outfit that put out just a couple of releases, but each one blazed a trail though leftfield percussive sounds, wave, weird jazz and electronics. Andy Guy and Rob Merrill were the main members with the likes of Nellie Hooper also in the band's orbit. This record is packed with tribal drumming and floating horns, broken dubs and avant-jazz but all with a proudly DIY attitude. It's packed with heady moments and wild steppers that havent aged a bit and still sound future.

Review: Mumford & Sons drop a surprise single release alongside Pharrell Williams, 'Good People', delivering on a long-awaited promise to hop in the studio together after years of knowing each other. Finally falling back on their immediate instincts, 'Good People' hears the band and the solo wunderkind sing of tiredness and revelation, making adept use of a dry, driving, sportsmanlike instrumental palette (think hand claps, stomps, gospel harmonies). Though cryptic in theme, the mood on this one-off is one of triumph and impending miracle works to come.

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.