Back catalogue: Indie/Alternative

Review:  The latest of Radiohead's reissues is an utter avalanche of material. 'Kid A Mnesia' itself is an 'album mashup' between their two albums Kid A and Amnesia; both projects are remastered and released side-by-side on the same LP. It doesn't stop there: for the fanatics, there's an exclusive third disc, Kid Amnesiae, which contains formerly unheard material both recording sessions, as well as Kid Amnesiette, a cassette of B-sides. This ultra-deluxe edition is, decidedly, one for the ultra-fans. Besides the radical electronic fever dreams making up both projects, this version contains the never-before-heard song 'If You Say The Word' on the bonus CD. Remastered on vinyl and cut at half the speed of the original LP, it's an audiophile's banquet. Also watch out for the exclusive booklet of drawings that come with the special edition of this special edition.

Review: Twenty years ago it sounded like an oddly poignant evocation of pre-millennial tension. Two decades later it stands as an eerily prescient glimpe into the technological alienation and dislocation of of a new era. Yet more importantly, OK Computer is no more or less than a sparkling, dramatic and moving collection of songs that haven't lost any of their impact in the interim. The sound of a band stubbornly refusing to follow up the stadium-strafing stylings of its predecessor The Bends - and instead bursting headlong into experimentation and wild creativity -is portrayed in still more vivid colours by the alarmingly strong collection of out-takes and B-sides collected herein, Yet there's no getting away from the chill and spark that marked out OK Computer from everything surrounding it in the post-Britpop malaise, and continues to do so in the pre-Brexit counterpart.

Review: After the natural commotion that surrounded the sudden news of an eighth Radiohead album available for immediate download - and some loose limbed moves from Thom Yorke last month, the band finally appease their fans that prefer a tangible product. The King Of Limbs sees Thom Yorke and company continue the sonic experimentation that has characterized the latter part of their career. Those expecting a full-on Aphex Twin style electronic assault may, though, be disappointed. While it's all densely layered and impressively textured see the droning guitars, electronics and tape loops of "Bloom" or the atmospheric dubstep of "Lotus Flower" there are still plenty of authentic experimental rock moments, not least the uptempo "Little By Little" and semi-acoustic dreamscape "Give Up The Ghost".

Review: "In Rainbows", Radiohead's seventh album, finally gets a physical release! It's one thing downloading this landmark album, but to actually hold this is something special. Not only do you get increased sound quality, but you also get the amazing artwork from Stanley Donwood. This album includes "Nude", a live favourite for many years that was originally written during the "OK Computer" sessions. More minimal that their "Kid A" period, "In Rainbows" does something that very few albums have done - its sound is distinct from previous Radiohead albums, but is still clearly Radiohead. Hail to the kings, they are back on top form.

Review: There was naturally much excitement when A Moon Shaped Pool, Radiohead's surprise ninth studio set, popped up on streaming and download services back in May. Here it gets a CD release, offering those who prefer physical products a chance to bathe in its' woozy eccentricities. Seen by some as a return to their arty rock roots following an extended period spend exploring electronics, the album's 11 tracks draw on a variety of influences (krautrock, ambient, Pavement, James Blake, Stockhausen, intense melancholia etc.), with predictably impressive results. Occasionally elegant, string-laden and grandiose, always beautiful, and sometimes intensely moving, A Moon Shaped Pool is undeniably up there with the band's best work.

Review: Although it didn't receive quite as rapturous reviews as its predecessor, 1990's Nowhere, Ride's sophomore album Going Blank Again remains one of the finest shoegaze sets ever recorded - a dense, psychedelic, glassy-eyed, heavily layered set whose immersive sound, harmony vocals and droning textures come together to create a heavy, immersive and enveloping masterpiece. This remastered reissue replicates the format of its 2001 predecessor, expanding the set to include a quartet of bonus tracks plucked from singles and EPs released in the same period. These include the glistening, dancefloor-ready dream-pop swell of 'Going Blank Again' and the wall of sound that is 'Grasshopper'.

Review: By the time they released Tarantula in 1996, Ride had run out of road. The band split shortly before the album's release and would not reform again for almost two decades. At the time, the album was panned by critics, but listening to this remastered reissue, it's hard to see why. Sure, the dense, dreamy and heady shoegaze sound they'd pioneered at the turn of the 90s was long gone, replaced instead by a nostalgic late 60s rock sound that doffed a cap to the Beatles and those Britpop era bands that emulated their sound (hello Oasis). The sound is authentic - all blazed vocals, alternately jangling and heavy guitars, dependable bass and wide-eyed audio effects - and the songs entertaining. Perhaps it will be judged more sympathetically this time round.

Review: Porter Robinson's Smile! is a lively exploration of maximalist pop, filled with energetic beats and catchy melodies. The album opens with the high-energy duo 'Knock Yourself Out XD' and 'Cheerleader,' both are uplifting synths and powerful choruses that are sure to light up live performances. While Smile! dives into themes of fame with a playful, tongue-in-cheek approach, it's clear that Robinson is having fun with this new direction.Tracks like 'Kitsune Maison Freestyle' stand out with their irresistible, bouncy rhythms, and 'Mona Lisa' delivers a breezy, laid-back vibe. 'Russian Roulette' shines with a stunning chorus that lingers long after the song ends. While the album's irony might feel a bit heavy-handed at times, there's an undeniable charm in the way Robinson blends humor with heartfelt moments. There are quieter tracks that offer a nice contrast as well. Smile! is an exciting departure from Robinson's previous work and it's an entertaining ride that's worth a listen for its infectious energy and spirit.

Review: Rosetta Stone, one of the most enduring bands from the influential second wave of gothic rock, returns with a brand-new studio album called Under the Weather. Known for their dark romance and chiming guitars, the new album stays true to form with lush keyboards and an undercurrent of sinister nostalgia, thanks to bandleader Karl North. Fans can look forward to pre-release singles and a significant media blitz to accompany this album, their first in 4 years. Formed in the 1980s by Porl King and Karl North, Rosetta Stone initially captured the jangly-guitar sounds of gothic rock. Their big break came after supporting The Mission on tour. The band later transitioned to a more electronic sound before disbanding in 1998. Now, gothic mastermind Porl King is back with an album that promises to transport fans back to goth's heyday. Like their namesake, British goth legends Rosetta Stone were pivotal in bridging the gap between the first wave of gothic rock and the emerging underground scene. Their music brought a romantic element to a dynamic era of black fashion and experimental freak culture.

Review: British rock twosome Royal Blood had a famously speedy ascent, with their self-titled debut album appearing little over a year after the duo started working together. That album is now ten years old, hence this lightly expanded anniversary edition. The original ten-track album - a raw, rugged, energetic and at times insanely loud fusion of red-raw metal guitars, Ben Thatcher's thunderous drums and Mike Kerr's yelped vocals and booming bass - remains as thrilling and jaw-dropping as it did a decade ago, making it a genuine British alt-rock classic. This time round, we also get six bonus tracks (B-sides and EP bonus cuts), an alternative remix of 'Ten Tonne Skeleton' and a quintet of live recordings from 2015.

Review: These archival recordings of two extraordinary live performances takes you back to when New York City was a bohemian magnet, with low rent and spaces where artists could thrive. Recorded in Downtown in December 1985 and June 1984, the late, great Arthur Russell is captured performing at an intimate loft space known as Experimental Intermedia Foundation, which was run by Phil Niblock. Since the recordings are unedited, it does a really great job of simulating the experience and so if you close your eyes, it's easy to imagine Russell in the room right there in front of you. Of the numbers played, Russell's gifted avant-garde approach to cello is brilliantly done on 'Too Early To Tell'. And the spine-tingling, raw and deeply emotional 'That's The Very Reason' is arthouse folk at its finest. It epitomises the raw, spell-binding talent that Russell had to captivate a room. Hats off to those who have immortalized these very special shows.

Review: Those with an intricate knowledge of the sadly cut-short career of the late, great New York experimentalist and leftfield disco specialist Arthur Russell will happily tell you that his most celebrated solo album, World of Echo, was not only developed over several years, but also utilised edited and chopped-up recordings of shows he performed in his home city in 1984 and '85. This release presents both of those performances in full, with Russell - performing songs to his own effects-laden cello motifs and little else - delivering sparse (but effortlessly emotive) early versions and 'sketches'. These are a mix of lesser-known songs and familiar favourites, including a haunting take on 'Let's Go Swimming', a medley of 'Hiding Your Present From You/School Bell', and the inspired 'Sunlit Water'.