Review: Over three LPs, this impressive compilation covers album tracks, singles and B-sides across 30 years of Nick Cave's nigh-on flawless work with The Bad Seeds. Following the progression of the band through these 45 lushly remastered tracks, we hear Cave mature as writer, composer and singer, from the early post-Birthday Party morbid obsessions, through tender ballads, the grand theatrical 'Dig, Lazarus, Dig' era work, to the intense and widescreen masterpiece of 2014's 'Push The Sky Away'. In its assembly, 'Lovely Creatures' is far more than a mere compilation, it's a broad and exhaustive journey through Cave's mythological folklore universe of murder, sex, drugs, love, light and dark.
Review: Much loved indie pop pair Alison Goldfrapp and Will Gregory served up their iconic debut album on Mute in 2000. It has sold over a quarter of a million records since and was nominated in the Mercury Awards that year. It comes alongside the rescheduled Felt Mountain Live Tour and is often said to be the band's most crucial and influential record. As such it comes on a fitting gold vinyl with a gatefold sleeve included new and insightful sleeve notes from Lior Phillips in an 8pp 12" x 12" Booklet.
Review: Autofiction is certainly a triumphant return for the mighty Suede, one of the most iconic of all UK indie bands who helped nurture the Britpop movement out of nappies and into big boy pants, and big boy record deals, during the early-1990s. Whether this is exactly the rebirth into a punk outfit some corners of the press would have you believe is another question.
Ultimately, LP number nine definitely feels like a change of tact, with Brett Anderson's voice taking on a new, grizzlier sound (albeit at times still erupting into the siren-esque tones we fell head over heels for first time round). On the whole, it would be far more accurate simply to label this outing as tougher, rawer and much less affected than the stuff we've had in the past.
Review: Flared, blazered indie rockers Dope Lemon don leopard-print scarves and pink supercars as they glide, sunshades on, down the street to the tune of their new album 'Rose Pink Cadillac'. After the release of their recent single of the same name, the album is decidedly electro-funky and sultry in feel, with the band reconcile every mood between the styles of Tame Impala and Anderson Paak, and teasing a stinking funk to the smooth production that belies each vocal performance by Angus Stone. Coming to CD and LP, one lucky fan who preorders the album will receive - yes - a real 1960s rose pink cadillac with their preorder.
Review: Is it really 10 years since Alt-J burst into the open with the barnstorming success of their debut album An Awesome Wave? The band set out their stall as something a little different from the get-go, but the vital essence of the band is in their ability to bridge the gap between widely appealing indie songwriting hooks and unusual touches which make everything sound new, even a decade later. It's fair to say they inspired a fair few artists in their wake, especially with the likes of 'Something Good', but none of these imitators match up to the sheer inventiveness spilling out of this incredible debut album. In the wake of their latest album The Dream, it's a treat to be able to go back to the beginning of their remarkable journey.
Review: Alan Vega & Marty Rev's career as Suicide spanned an incredible four decades. During those years, they rarely if ever got much credit for their work but as is often the way, once time passed they started to get deserving plaudits and an ever growing status amongst fans and critics. Now said to be one of the most inspirational outfits of the 70s, they influenced everyone from Depeche Mode to Soft Cell. This brand new, remastered collection takes in tunes from all across the band's career and has plenty of big, raw, energetic and eclectic sounds with track from their first album in 1977 and most recent in 2002.
C'mon People (We're Making It Now) (feat Liam Gallagher) (4:55)
Weeping Willow (4:05)
Lucky Man (4:38)
This Thing Called Life (5:23)
Space & Time (5:01)
Velvet Morning (5:03)
Break The Night With Colour (4:31)
One Day (4:33)
The Drugs Don't Work (5:37)
Review: It's been three whole years since we last encountered a new album from the man like Richard Ashcroft. The guy who once told us how the drugs no longer worked, only to then explain how lucky he was. In many ways, Acoustic Hymns Vol.1 is an extension of all that, a record that has come along at a time when he's clearly ready to reflect on the heady days of the Britpop and UK indie explosion detonated in the 1990s.
Whether you'd call this album a covers collection or original, new work is definitely down to opinion. Ashcroft has opted to turn his hand back to tracks released with his seminal band The Verve, and a few of his own solo bits, only reimagined and reappropriated. The latter word is the most accurate, though. Here genuinely new life is breathed back into the likes of 'Bittersweet Symphony', which, considering the scale of that particular hit, is no mean feat.
Review: The Sound's second album, From The Lions Mouth, solidified their stature as post-punk legends, despite their lack of mainstream recognition. Produced by Hugh Jones, the album exhibits a fuller sound compared to its predecessor, Jeopardy, while maintaining the band's atmospheric edge. Tracks like 'Winning' confront life's challenges with resilience, setting the tone for the album's introspective yet determined themes. The record effortlessly navigates between dynamic tracks like 'Fatal Flaw' and the atmospheric 'Silent Air,s shows the band's versatility and emotional depth. Adrian Borland's songwriting evokes a sense of loneliness tempered with a glimmer of hope, resonating with listeners even decades later. From The Lions Mouth stands as a timeless masterpiece of the new wave era, offering a poignant exploration of personal struggles and resilience. Despite their lack of commercial success, The Sound's influence on the underground music scene remains undeniable, cementing their place among post-punk icons. The album's reissue, with its spectacular sound quality and subtle inclusion of hidden gems like 'Hothouse,' pays homage to Borland's vision and the band's enduring legacy.
Review: Jeopardy is the debut studio album by English post-punk band the Sound, released in November 1980 via Korova. This being the heyday of the commercial music format, the album was released with the expectation of high chart performance, though it flopped on that front. Despite the anticlimax, Jeopardy went down in time as a dark post-punk paragon, invariably lauded by the small crock of critics who did hear it; this pattern would go onto be matched by the overall critical success of the Sound as a a band. The album's neo-noir, paranoiac hooks and exclamatory vocals make up its core aesthetic, though there is something truly authentic, an 'it' factor, that makes Jeopardy unique unto its own; its rapacious compositions, tight melodies and moments of toothy brightness add to this aura; it's as if they paved a hidden way for the more talented of South London bands of today.
Review: Pixies' 'Doolittle' was inarguably 4AD's defining album outside of dream pop, and was of course the Pixies' optimistic cash cow. Fewer fans are aware of 'Doggerel', its brand new dubious counterpart. Rather than dealing in the winged, playful Puck-punk they normally dealt in, this 2022 reunion album hears the band indulge in darker headspaces, charting gruesome folk, ballroom pop and brutal rock. Lead single 'There's A Moon On' is a fearsome rock n' roll song with nigh intangibly fang-bearing vocals.
Review: The Crown Prince of Essex is here in all his sex and drugs and rock 'n' roll glory, and while most of the tracks on this career-spanning collection will be familiar, diving back into the back catalogue is a welcome reminder of the power of modern poetry. Ever the astute lyricist, deftly combining slang with more sophisticated forms of English wordplay, it's enough to make you fall head over heels for the eccentric lad-cum-laird all over again.
With early anthems such as 'Kilburn & The High Roads' sitting next to outtakes from his final, posthumous 2002 album and classics like 'Reasons To Be Cheerful Pt.3', and 'Hit Me With Your Rhythm Stick', Hit Me! is as comprehensive an introduction or as deep an exploration of a musical master's work as you are likely to find on two discs. Let's leave it at that.
Your Call's Very Important To Us Please Hold (4:12)
Ugly Guys With Beautiful Girls (7:07)
Suburban Homeboy (2:58)
Review: Sparks are, of course, Ron and Russell Mael, a hugely prolific family twosome who have put out some 20 albums. Lil' Beethoven was their 19th and one in which they managed to find some of their better earlier form right on the turn of the millennium. It came in 2002 and builds in some classical influences to their usual sound with the single 'Suburban Homeboy'. The pop/rock aesthetic defines many tunes as the band rekindle their interest in art. This is one of the many albums BMG are reissuing this year including Balls from 2000, Hello Young Lovers from 2006, Exotic Creatures of the Deep from 2008 and The Seduction of Ingmar Bergman from 2009.
Review: Liverpool's legendary Echo & The Bunnymen add to their 30-plus years of service to music with a new album, of sorts, that in fact delivers two new compositions and 13 other songs plucked from their vast and expansive catalog. Long-time fans will no doubt be pleased to hear the new beatless tinges given to their 1984 classic "Seven Seas", while of course the album is a perfect diving point for new audience to come to grips with the band too. Take, for example, the gnarlyish drawl of "Nothing Lasts Forever" that helps offset the Bowie-like tendencies heard in numbers like "Lips like Sugar" and "The Somnambulist". Sounds like a cliche, but seriously, still as good as it ever was.
Review: American rock band Garbage have done well to stand the test of time. Their seventh studio album has been influenced by numerology and things such as the seven virtues, the seven sorrows, and the seven deadly sins. It is a ferocious record that chews up and spits out issues of capitalism, love, loss and grief, and is, says frontwoman Shirley Manson, "our way of trying to make sense of how fucking nuts the world is and the astounding chaos we find ourselves in." Bold, confrontational and powerful, this is one of the band's most socially and politically aware albums.
Review: The Sound were a band ahead of their time, and All Fall Down stands as their definitive contribution to their legacy. Despite facing commercial pressures from their label, Adrian Borland and the band stayed true to their artistic vision, delivering a masterpiece of post-punk melancholy and timeless songwriting. The album's ten tracks, marked by a sense of longing and introspection, showcase Borland's poetic lyricism and emotive vocals, from the haunting beauty of 'Monument' to the raw energy of 'Red Paint,' each song leaving a lasting impression. Despite its initial lack of commercial success, All Fall Down remains a hidden gem for those who appreciate music that speaks to the soul.
Review: Primal Scream's first new album in eight years, via BMG, following 2016's Chaosmosis, featuring the lead single 'Love Insurrection' which is currently doing the rounds. It's produced by David Holmes and includes cover art by Jim Lambie. The recording process began in 2019, with Bobby Gillespie initially crafting lyrics solo on an acoustic guitar. Encouraged by producer Holmes, the band recorded across Belfast, London and Los Angeles. Gillespie describes the album as embodying a theme of conflict and resilience, inspired by the Glaswegian term "come ahead," which signifies a defiant spirit. The album marks Primal Scream's first release since the passing of longtime member Martin Duffy in 2022. Come Ahead promises to blend the band's trademark evolution with fresh, bold sounds.
Review: Pixies return with The Night The Zombies Came, their tenth album, marking 35 years since Doolittle cemented their place in alternative rock history. Building on the momentum of their 2022 album Doggerel, the band deliver 13 new tracks that prove to be among the most cinematic soundscapes of their career. The album weaves together eclectic themes like Druidism, apocalyptic shopping malls and medieval-themed restaurants. Black Francis, the band's primary songwriter, describes the album as a series of fragmented narratives that come together to form a kind of movie. The Pixies' trademark blend of surreal lyrics and dynamic "loud-quiet-loud" song structures remain intact, yet the new material explores fresh, imaginative territories. Having influenced iconic bands like Nirvana, Radiohead and Weezer, Pixies have long been a cornerstone of alternative rock and now, with Emma Richardson (formerly of Band of Skulls) joining as bassist after Paz Lenchantin's departure, they continue to evolve while maintaining their distinctive edge.
Born In The USA (single edit - live In Paris 1988 - bonus track) (4:26)
Review: Heads will know Suicide as the pioneering duo of electronic music and proto-punk from New York City, consisting of vocalist Alan Vega and instrumentalist Martin Rev. Fewer will know anything more beyond the pale of their debut album, though. 'A Way of Life', their third studio album released in 1988 via Wax Trax!, heard them escape the noise - exploring a more hypnotic, minimalistic synthpop sound. That being said, stonkers like 'Surrender', 'Jukebox Baby 96', and 'Dominic Christ' all still captured the doomy New York zeitgeist. This remastered edition contains a full remaster from its original tapes, as well as a brand new, never-heard-before live Bruce Springseen cover no less.
Review: The ongoing success of the musical showcasing his work, the terrific (and very Sheffield-centric) Standing At The Sky's Edge, has done much to remind listeners of Richard Hawley's qualities as a songwriter. He's genuinely one of Britain's best of the last few decades, though the varied ways in which those are presented has not always gone down well with listeners. On In This City They Call You Love - another reference to beloved Sheffield - Hawley returns to the smooth, string-laden sound which marked out his most commercially successful album, Coles Corner. His voice - deep, rich and at this point bordering iconic - naturally takes centre stage on a set packed with touching and thoughtful ballads. It's a winner, but then the majority of his albums are.
Review: Australian folk-indie-pop set Angus & Julia Stone, appropriately led by brother and sister Angus and Julia Stone, have been making waves Down Under for almost 20 years now. One listen to their output is enough to convince you they're a cut well above the rest, and the panel charged with deciding on the ARIA Awards obviously agree. They've now won lots, and received nominations for countless more.
Life Is Strange certainly reflects their oeuvre quite accurately. Somewhere between contemporary country, blissful indie and romantic, soft and sweet artsy indie, the project itself also reflects their forward-thinking attitude, with this one of a growing number of video game scores that are actually albums in themselves, rather than the kind of straight up soundtracks we're mostly used to.
Review: Produced by David Holmes, who last worked with the band on 2013's More Light, the 11-track album represents a fresh chapter for the Scottish rock veterans, as well as their first new material in eight years. Bobby Gillespie is reportedly approached this record differently, crafting lyrics before music for the first time and relying on an acoustic guitar during the songwriting process. Gillespie describes the album as a reflection on conflictiboth internal and externalitinged with compassion. The title, a Glaswegian term, embodies the fierce and confident spirit of Glasgow, suggesting a defiant stance against adversity. The album's lead single, 'Love Insurrection,' previews this audacious energy. Come Ahead is the band's first release since the death of Martin Duffy in 2022. Duffy, a longtime collaborator, had contributed to every album since Screamadelica, though he had become estranged from the band over a rights dispute. Primal Scream, originally formed in 1982 by Gillespie and Jim Beattie, have continuously evolved from their indie pop roots into psychedelic, garage rock, dance music and then rock 'n' roll, making Come Ahead a compelling addition to their diverse discography.
Review: Bleed Like Me was the hugely successful and critically acclaimed fourth studio album from Garbage. Originally released in 2005, the recording of the album had some ups and downs that included the band disbanding during recording and eventually cutting the subsequent tour short as well. Through all of that, the album reached number four on the top 200 Billboard chart which was higher than any of the previous more commercially successful albums. Although none of the songs were hits, the album sits very well with fans of the band. Nearly 20 years later, we finally get a vinyl version of the album! Spread across two lovely transparent red vinyl we get the Deluxe Version. Listen and enjoy one of the best rock bands of the past 30 years.
Review: Moving away from their two-tone tingles and sauntering silliness, 'The Madness' was a thorough rebrand for the band - exploring a new name, a new sound, a rejumbled lineup, and all the new electronic music tech that te late 80s had to offer. Sounding more like Duran Duran than Madness as we know them, 'The Madness' hears a smattering of guest musicians join the party, including The Specials' Jerry Dammers on piano. It was this LP that caused such a furore at the band's Madstock festival in 1992, that a small earthquake erupted at 4.2 on the Richter scale in the London locale of Finsbury Park. Now you can relive said tremors of excitement with this reissue.
Review: Suicide are generally referenced in terms of their earth-shattering late 70s debut, but of course Martin Rev and Alan Vega did work together after that. A Way Of Life was their third album, released in 1988 when the world around them had changed so much from when they started out, and yet their sound was still devastating and imposing amidst the culture of bands they'd influenced. Recorded with The Cars' frontman Rip Ocasek, the resulting nine industrial pop songs are as brilliant as anything from their fabled earlier works, and in this special expanded edition we're also treated to a fully remastered version including a clutch of additional tracks including their live cover of Bruce Springsteen's 'Born In The USA'.
Review: Alpha Games is the sixth studio album from perennial millennial indie heroes Bloc Party. It's been six years since their last record, Hymns, so what has happened to Kele Okereke's band in that time? Notably, the line-up now features Justin Harris and Louise Bartle and this is the first record they had a direct influence on the songwriting. Listening to lead single 'Traps', there's a fierce urgency which positively leaps out of the speakers. The rhythm section rushes, and Okereke cavorts across the top with a theatrical performance which shows off his range perfectly. There's no doubt they'll be lighting up indie dancefloors and festivals alike as they ride the energy of this album into the great wide world this summer.
Review: Jonathan Wilson's new album Eat the Worm is, he says, a series of songs that have been made in reaction to the production work that he does. It finds him breaking free of any conservatism and taking chances on songs that have come together over the last two years in his own Fivestar Studios in Topanga Canyon, California. Plenty of experimentation can be heard throughout as he channels influences like Jack Nitzsche and Todd Rundgren into 12 beautiful folk and Americana fusions that find him reaching new heights and paying homage to the 60s folk revival of Greenwich Village.
Review: Zak Starkey - The Who's drummer and, as it happens, Ringo Starr's kid - joined ex-Kula Shaker bassist Alonza Bevan and The Smiths legend Johnny Marr for what was a kind of British indie supergroup of sorts, for a brief moment of glory. Boomslang remains the first and only album released by JM and the Healers, landing in 2003 to a rather mixed bag of reviews. Some lauded its musicality, others criticised the frontman's lack of bravery in refusing to move out of comfort zones. Listening back 21 years later, we're not sure what people were looking for and, to be honest, that kind of summarises the post-millennial era. We'd spent a lot and did a lot in the previous century, and it took some time to refocus on the blank page of the next 100 years. For us, Boomslang is a well balanced trip through a variety of very UK guitar sounds, from loose, druggy, vocally-effected bits to bewitchingly quiet folk-tinged stuff and rowdier, fight night scores. To clarify - that's all good.
Review: Time-honoured guitarist Johnny Marr releases yet another new solo album this winter, 'Fever Dreams Pt. 1-4'. Charting his long and isolated experience of the first COVID lockdowns, this album documents the guitarist's "interior life" away from the spotlight of Modest Mouse, The Smiths or The Cribs. A unique turquoise vinyl houses this promising dark new wave pop bit - its sound preempted by the first part, released last year. In his own words, Marr calls it his "most ambitious solo record".
Review: Pixies' The Night The Zombies Came marks their tenth studio album and continues their resurgence with a fiery new direction. This release is a vibrant mosaic of eclectic influences, from Druidism and medieval themes to apocalyptic malls and gargoyles. The album, produced by Tom Dalgety, blends cinematic ambition with a diverse sonic palette. The tracks divide into two distinct camps: the country-tinged 'Dust Bowl Songs' like 'Primrose' and 'Mercy Me', and the intense punk anthems such as 'You're So Impatient' and 'Oyster Beds'. Notable is the single 'Chicken', showcasing the band's signature surrealism. With the addition of new bassist Emma Richardson from Band Of Skulls, and an expanded role for guitarist Joey Santiago, who contributed lyrics to 'Hypnotised' using a sestina form, the album explores new creative depths. The Night The Zombies Came reaffirms Pixies' enduring creativity and versatility, delivering a dynamic and imaginative collection that bridges past influences with a forward-looking vision.
Review: Fans of veteran rock band Bush have long been waiting for the arrival of this ninth full-length. It is their first new release since their hugely successful and widely acclaimed 2020 album The Kingdom and it has a punchy, uptempo swing to it that finds them in top form. Plenty of tunes retain the band's signature moodiness with infectious hooks and big riffs detailing each of the tracks. 'Kiss Me I'm Dead' is a real standout with its heavy guitar jabs and strained vocals well as an epic chorus.
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