Back catalogue: Rock (All)

Review: First popping up on our radar in 2020 - or rather hurling itself onto it with all the subtlety punk can muster - Common Sense gets a reissue and not before time. Outspoken but never outgunned, Swedes Viagra Boys rightly courted some serious praise with 2022's album, Cave World, so it makes sense to revisit this epic EP in a bid to get newcomers acquainted with what came before. Opening on the title number, things may not sound quite as you'd expect. While known for their ability to wield bloody-lipped chargers, 'Common Sense' owes as much to shoegaze and synth rock as it does punk variants, immediately marking the outfit out as something not quite so easy to define. Nevertheless, 'Lick the Bang' is straight up topless sweatbox material, and 'Sentinel Island' centres our brains on wonderfully distorted and frayed riffs. Closing on the slow, nostalgia-hued 'Blue', it's quite the collection.

Review: The soundtrack to Jon Savage's monumental history of LGBTQ influence on popular culture is an essential double CD compilation that traverses the clandestine alongside the openly celebrated. Featuring artists from Joe Meek to Buzzcocks, Patrick Cowley, Tom Robinson Band, Lesley Gore, Billy Fury and Little Richard, it encapsulates the hidden and overt narratives of LGBTQ life in post-war music. Starting with the groundbreaking success of Little Richard in 1955, the compilation captures the coded expressions of the 50s and 60s, mirroring the societal secrecy and oppression faced by the gay community. As the music progresses into the early 70s, it reflects the era's burgeoning openness, marked by the influence of icons like David Bowie. The tracks span pop, Tamla, soul, glam rock, and the early funk and disco sounds that dominated underground New York clubs, ultimately leading to the disco explosion of the late 70s. This compilation is a tribute to freedom and the intertwined worlds of music and sexuality. Some artists identify as LGBTQ+, others are included for their impact on or by the gay aesthetic, making a heartfelt homage to the diverse and rich history of music shaped by the community. A vibrant and significant cultural journey.

Review: The Vanishing Twins first surfaced in 2016 with their Choose Your Own Adventure LP before taking some years away to magically re-appear like ghosts can do with The Age Of Immunology. The album brings together space pop with African spoken word and poetry, odd-ball percussion and strangely inspired UK synth pop made to fit a world of other exotic musical styles. There's no denying the unique sound that the band have conjured and it's something for those Broadcast, Pram and Stereolab fans out there in need of new, inspired material. At 10 tracks long it's a magical carpet ride for the ears and you'll never know what part of the world you'll end up.

Review: There's an awful lot going on here, and as such plenty to talk about. Alternative Funk: Volume 1 is both a compilation and reissue, with the original outing landing on cassette in the early-1980s on VP231, a label set up by Pacific 231, AKA Pierre Jolivet. The albums were the brainchild of Axel Kyrou and Francis Man, founders of the legendary Vox Populi!, and their aim was to showcase far out sounds, at least som of which were their own.

What we have in the modern iteration is a snapshot of that expansive and often hallucinatory aural odyssey, with seminal and lesser known artists resting side-by-side on the track list. Stylistically broad, running the gamut from dub percussion to cold wave and industrial, it's yet more evidence of just how fertile a decade the 80s were.

Review: Featuring extended versions of iconic tracks from this vital year in pop, funk and new wave, the compilation kicks off with Queen's hard-to-find extended mix of 'I Want to Break Free' and moves on to Tina Turner's extended 'What's Love Got To Do With It' and Ray Parker Jr.'s 'Ghostbusters' remix. Disc two dives into the electro-disco world, featuring anthems like Sister Sledge's 'Lost in Music' and The Pointer Sisters' 'Jump (For My Love)', alongside cult classics such as Divine's 'You Think You're a Man' and Bronski Beat's 'Why?' The third disc shifts to more experimental sounds with tracks from Tears for Fears, Propaganda and Cocteau Twins, offering a rich blend of synth-pop and post-punk. The final disc brings the big hitters, with the Annihilation mix of Frankie Goes to Hollywood's 'Two Tribes', Duran Duran's 'The Wild Boys' and the extended mix of Band Aid's 'Do They Know It's Christmas?' A year rich with groundbreaking tunes, coupled with an emerging remix culture, make for some truly fascinating listening.

Review: NOW 12? 80s: 1983 - Part Two is a jam-packed for fans of extended mixes and 80s nostalgia. This 4CD set brings together 49 tracks, offering a mix of iconic hits and lesser-known gems, all in their extended or remixed forms. From Wham!'s energetic 'Wham Rap! (Enjoy What You Do?)' to the undeniable groove of New Order's 'Blue Monday', this compilation is filled with dancefloor-ready anthems. The set excels in its variety, mixing familiar chart-toppers like Spandau Ballet's 'Gold' and Lionel Richie's 'All Night Long' with deep cuts like Joe Jackson's atmospheric 'Steppin' Out' and Tracey Ullman's playful 'Breakaway'. Glamorous pop sits alongside punk-infused tunes, with bands like Public Image Limited and Echo & the Bunnymen adding a post-punk edge to the lineup. While the tracklist is dominated by pop and synth-heavy hits, the inclusion of disco classics like KC & The Sunshine Band's 'Give It Up' and Divine's 'Love Reaction' adds a touch of 80s dancefloor magic. This collection is a great snapshot of the era, featuring extended versions that give these songs even more room to shine. Affordable and well-curated, NOW 12? 80s: 1983 - Part Two is perfect for the fans of the deacde.

Review: And the award for most apt compilation title of the year goes to... While on face value it may seem like the USA's Pacific North West and UK's English North West have very little in common, this collection of tracks confirm there are similarities. And they go further than the damp conditions both regions often have to endure. Cheshire-born Burgess and West Coast native Stanley have been friends for 30 years, and their respective homelands collide here. Tim Peaks Diner, established by the former as a festival pop up, apparently owes much of its stylings to "Twin Peaks", and that series-cum-movie-cum-legend has inspired much of the soundtrack to said eatery. New Wave (The Chills), opiate folk (Gwenno), psychedelic country (Blue Orchids) and plenty more help capture the mood of a fantastical waypoint on some fictional road trip.

Review: Put together in part to mark the tenth anniversary of Jack Rollo and Elaine Tierney's monthly NTS radio show, Searchlight Moonbeam is a "narrative compilation" described by fast-rising Aussie imprint Efficient Space as an "autumnal dreamscape". It's a conceptual theme open to interpretation, but in practice that means a gorgeous, atmospheric and Bonfire Night-friendly mix of acoustic songs (Bo Harwood & John Casavettes), exotic Indian neo-classical music (Bhairavi Raman & Nanthesh Sivarajah), string-laden outsider pop (The King of Luxemburg), heady global beats (OG Jigg), lo-fi indie haziness (Klang), ghostly and dreamy trip-hop (Scala), psychedelic dream pop (Soft Location), and picturesque piano pieces (Delphine Dora). A genuine triumph.

Review: NOW's ongoing 'Yearbook' series, which offers a wealth of hits from a specific year across four action-packed discs, moves on to 1977 - a year when disco and punk were on the rise. There's plenty of the former showcased here - think Chic, Candi Staton, Donna Summer, the Trammps, Thelma Houston and Marvin Gaye - as well as classic and blue-eyed soul from the likes of Boz Scaggs and the Drifters. Punk and alternative rock of the period are relatively well catered for too, thanks to hits from the Ramones, the Stranglers, The Jam and the Clash. Throw in a host of familiar mainstream pop and rock favourites, as well as a clutch of curiosities (Mike Oldfield's 'Portsmouth') and you have a faithfully expansive reflection of what British pop fans were listening to in 1977.

Review: Part 2 of this exciting soundtrack brings an array of music that complements the series' epic conclusion. Headlined by Ashnikko's electrifying anthem 'Paint The Town Blue', this collection includes contributions from a diverse lineup of artists such as Stray Kids, Young Miko, Tom Morello, d4vd, Twenty One Pilots, Marcus King, King Princess and more. The album strikes a perfect balance between high-energy tracks and more introspective tunes, enhancing the emotional depth of the show and its beloved characters. Following the success of the first soundtrack, this edition continues to elevate Arcane's storytelling, adding even more layers to its vivid world. Notable contributions also come from Mike Shinoda of Linkin Park and Imagine Dragons, further enriching the listening experience. With its dynamic range of sounds, the Arcane Season 2 soundtrack is a powerful companion to the series, deepening the viewer's connection to the world and characters.

Review: Skep Wax's first Under The Bridge compilation, released in 2022, reunited the bands, songwriters and producers who populated cult early '90s indie label Sarah Records. This hotly anticipated follow-up repeats the trick, presenting 20 recently recorded cuts from the Bristol-based imprint's original roster of artists. It too, is a hugely successful - and understandably nostalgic - exercise, with hi9ghlights including the bright-and-breezy indie jangliness of Action Painting's 'Just Who Are The Cockleshell Heroes', the shoegaze-influenced dream pop haziness of Soundwire's 'Everything Is Real', the near Balearic soft focus shuffle of 'Double Nine' by GNAC, and the saucer-eyed excellence of The Orchids' 'A Final Love Song'.

Review: On the label's latest deep dive into the margins of underground music culture, Soul Jazz Records has decided to take us back to the late 1970s and Britain's DIY 'powerpop' movement - a self-contained micro-scene whose obscure and proudly independent artists mixed elements of punk with (as the extensive liner notes put it) "melodically beautiful 60s pop and garage sounds". On offer is a predictably impressive, 150-track selection of self-released songs from bands forgotten by all but the most obsessive powerpop nerds. Highlights include the gravelly, ten-ton riffs and bawled vocals of 'London' by Gobblinz, the proto indie-jangle-goes-punk strut of Xdreamysts' 'Right Way Home', the bass-heavy post-punk joy of The Monitors' 'Compulsory Fun' and the post-punk reggae/blue-eyed soul fusion of 'Cry Myself To Sleep' by Cosmic Romance.

Review: Not just a clever name, then, this companion piece to the equally aptly-titled Nice Swan Introduces Volume 1 gives an overview of highlights from the exalted UK independent record label, based on releases between since spring 2022. Suffice to say, there have been many notable additions to the back catalogue in that time and the tracks have come as broad as they have thick and fast. As this incredibly varied collection proves, from the surreal antique balladry of Avice Caro ('End of the Day'), to the noise metal of 'Gmaps' by Cowboyy. Attempting to pick particular must hears isn't easy, or logical, then. But let's just say the raw garage rock 'n' roll twang of Shady Baby's 'Come to Life' and Splint's riff-happy '145' are definitely up there. As is the psychedelic-hued indie of Saloon Dion ('Hey Hey') and the Prima Queen's dreamy 'Chew My Cheeks'.

Review: There's a good reason that the Viagra Boys' latest album is self-titled. Unlike their previous album, 2022's satirical, politically-charged Cave World, the Swedish post-punkers' latest set is lyrically far more introspective, with frontman Sebastian Murphy offering (in the band's own words), a "self-deprecating exploration of his own absurdity" (or, in the case of opener 'Made of Meat', "your mom's Only Fans"). Musically sitting between energetic, horn-heavy early 80s post-punk and grunge-fired US alt-rock - with occasional nods to more tropical and melody-driven flavours - the album is heaps of fun with strong songs aplenty, not least the jaunty 'Pyramid of Health', the low-slung, synth-sporting 'Waterboy' and the surprisingly pastoral 'River King'.

Review: Formed by former Strokes man Johnny Cassablanca early last decade, The Voidz tend to take their time over albums. In fact, Like All Before You is only the American outfit's third full-length excursion in eleven years, with their most recent dropping five years ago. It's an interesting and enjoyable set all told, with the combo variously fusing the jangly guitar sounds of Johnny Marr, the indie/dance-pop fusion of New Order, the raucous riffs of US alt rock, the autotune-enhanced sounds of 21st century pop, and the lo-fi end of the indie-rock spectrum. It's an unusual but accessible and pleasingly diverse mixture that makes Like All Before You ripe for repeat listening.