New releases last four weeks: All genres

Review: This expanded vinyl edition of mixes of The Cure's latest LP plays like a love letter to distortion, atmosphere and the spaces in between. Robert Smith i the Crawley-born architect of dream-pop dread i doesn't just sign off on the remixes; he threads them into something tactile and deeply referential. On wax, everything breathes more. Craven Faults' rework of 'I Can Never Say Goodbye' stretches across the grooves like a slow fog; you can almost hear the reverb decay. Trentemoller's version of 'And Nothing Is Forever' pulses with distant thunder, while Ex-Easter Island Head bring a kind of percussive drone minimalism that feels at once ancient and alien. The inclusion of post-rock outliers like Mogwai and 65daysofstatic leans into the format's cinematic sprawl i these are not just remixes but alternate timelines. Smith curates the artwork, adds handwritten notes, sketches, fragments of ephemera i each fold and crease of the tri-gatefold sleeve feels intentional. Even the sequencing feels weighted: Four Tet and Anja Schneider on one end, Twilight Sad and Moreno on the other. This isn't just a deluxe package i it's a monument. A showcase of how far The Cure's music can stretch, bend and re-form without losing that original ache.

Review: This brilliant double album captures legendary UK miserablists The Cure live in Rio de Janeiro's Apotheosis Square back in early 1996, during a performance broadcast by the King Biscuit Flower Hour. The setlist blends plenty of their classics with newer material from their Wild Mood Swings era, including fan favourites like 'A Forest,' 'Disintegration,' 'In Between Days,' 'Fom The Edge Of The Deep Green Sea' and the evergreen 'Boys Don't Cry.' It's a testament to the fact that the band was still evolving and able to conjure real emotional intensity that was as powerful in the mid-'90s as in their early post-punk days.

Review: Captured during The Cure's seminal 1981 Picture Tour, this vital 13-track collection is a raw, atmospheric glimpse into a band deep in their post-punk ascent. Recorded while promoting their haunting third album Faith, the setlist draws from early classics like 'A Forest,' '10:15 Saturday Night' and 'Fire in Cairo' while darker cuts like 'All Cats Are Grey' and 'Play for Today' showcase the band's moody evolution from wiry, spiky songsmiths into epic goth pioneers. Stripped-down, urgent and undeniably magnetic, this live recording cemented The Cure's status as generational icons and even more years it, it is still resonant with intensity and vulnerability.

Review: A four sided selection of remixes of the goth kingpins' widely acclaimed and long awaited latest album Songs of a Lost World. From the moment Paul Oakenfold's 'I Can Never Say Goodbye' rework opens proceedings i lush strings, half-submerged vocals, and a cinematic pace i it's clear that curation, not just contribution, has shaped the form. Orbital turn 'Endsong' into a glistening spiral of sequencers and tension, while Sally C's raw house take on 'A Fragile Thing' ups the pulse without disturbing the gloom. Smith i still unmistakably the same outsider from Crawley, West Sussex i guides things with restraint, letting the space speak louder than the noise. Four Tet's version of 'Alone' closes the first disc like a forgotten lullaby, cracked and glinting. You don't get every remix i the more textural, post-rock turns are gone i but you do get a sharp cross-section that keeps faith with both atmosphere and momentum. It's the kind of record that feels designed for the night: not to lift it, exactly, but to sink into it willingly, track by track.