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Back catalogue: All genres
Juno's full catalogue of All genres
单曲
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Review: After Robert Grey's 1990 exit, Wire morphed into WIR, a project designed to wrap up their Mute Records contract with a stripped-down, sequencer-led approach. Graham Lewis took lead vocals while the band reworked their own back catalogue. A chance to reflect on what had been, as opposed to what was yet to be, WIR's lifespan was brief, with only a handful of shows and two conceptual events dubbed I Saw You In Clapham (April 1992) and Vienna (February 1993) rolled into the ensuing campaign. On the Vienna trip, they recorded a sprawling 25-minute session for Austria's ORF, curated by Peter Rehberg of MEGO fame, released by Touch in 1996. This 2025 remaster adds a fresh take on their darkest pop moment, 'So & Slow', reimagined in a live-inspired arrangement with a nod to Taylor Swift's re-recording style.
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专辑
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Cat: RH 003CD. Rel: 29 May 25
Psych/Garage Rock
Review: Pioneering Japanese psychedelic rock Acid Mothers Temple & the Melting Paraiso U.F.O. (AMT) were formed in 1995. Their relentless output has spawned various offshoots over the years, such as Acid Mothers Temple & the Cosmic Inferno and Acid Mothers Temple SWR, synthesising and alien cosmo-grammar in sound, one that perhaps only the most acid-casualtied tongues can interpret or speak. Now present through Rolling Heads comes their latest album for 2025: Holy Black Mountain Side comprises three psychedelic pieces, reticulating a series of recording sessions held down between 2021 and 2023, at one point reinterpreting a traditional folk song, and throughout enlisting guest bass from Taigen Kawabe of Bo Ningen. Each record comes wrapped in unique artwork by lead improvisor Kashiwagi Ten, adding an extra layer of veiled mystery to each: no two records are visually alike.
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Review: Having celebrated his 50th birthday late last year, Ryan Adams has naturally been in an introspective mood. It makes sense, then, that the long-serving rock/country fusionist should offer up an album made up entirely of covers of songs by other artists that have in some way inspired him over the years. Generally gentle, with string-laden, largely acoustic arrangements, Changes features some genuinely brilliant interpretations - as well as some surprise ones. For proof, check his piano-and-strings wander through 'Panic' by the Smiths, a wonderfully heartfelt rendition of 'Don't You (Forget About Me)' by Simple Minds, a country-folk take on the Rolling Stones 'Sympathy For The Devil' and a lilting, poignant Prince cover ('When Doves Cry', which comes complete with extended harmonica solos and some genuinely lilting strings).
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Review: Aesop Rock has long thrived on twisting the ordinary into the uncanny, and his latest full-length after 2023's irony-packed Integrated Tech Solutions hears him deepen that fascination. Examining the unseen mechanisms that guide daily life - dream logic, half-formed memories, fleeting emotions - he now blurs the lines between perception and reality with densely packed verses and meticulous self-produced beats. A brooding, cinephilic album recalling the atmospheric street wiles of filmmakers like Wong Kar Wai, the playful 'Send Help', contemplative 'Movie Night' and dusky 'Black Plums' chart strange emotional terrain, brought to life through warped sonic forensic architectures and sharp lyrical precision. Joined by Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, the album pivots constantly, driven by intuition but grounded in detail Speaking on the record's emphasis on public bareness, Rock remarks on 'Checkers', a song "about the neighborhood outside your home being the great leveller. You can't show up feeling one way because the world will show you otherwise."
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Cat: AQU 012CD. Rel: 12 Jun 25
Broken Beat/Nu Jazz/Nu Soul
Review: Just three months after its predecessor was released, the second and final part of Joe Armon-Jones' epic All The Quiet album series lands in stores. Entirely written, produced and mixed by the man himself - with a few friends and high-profile guests popping up to add instruments or take to the mic - the set offers atmospheric, immersive and perfectly-pitched musical fusions rooted in his various sonic influences (think jazz, funk, soul, hip-hop and dub). Highlights are plentiful, from the deep and dreamy jazz-soul shuffle of 'Another Place' (featuring significant contributions from vocalists Greentea Peng and Wu-Lu), to the warming, dubbed-out soul of top-tier Yazmin Lacey collaboration 'One Way Traffic'.
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Cat: ECLEC 22910. Rel: 29 May 25
Progressive Rock
Review: After a five-year split, Atomic Rooster returned with renewed force on their sixth studio album, Atomic Rooster, pushing into heavier territory sligning au naturel with the emerging new wave of British heavy metal. Released in 1980, the album marked a sharp turn from their earlier, more progressive leanings, favouring a nude, aggressor rock sound. Guitarist and vocalist John Du Cann reworked two tracks, 'She's My Woman' and 'Where's the Show?', from his unreleased 1977 solo work The World's Not Big Enough, breathing into them second life within the Rooster framework. Though the 2005 CD reissue stirred interest with rare demos and extensive sleevenotes, it remains an "unofficial" release due to copyright issues with EMI. 'Do You Know Who's Looking for You?' later found new life via a Finnish-language cover by rock band YUP.
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Review: Geir Jenssen (Biosphere) marks his AD93 debut with The Way Of Time, wrapping elucted echo and looping synth drift around spoken fragments of Elizabeth Madox Roberts' great 1926 novel The Time Of Man. A Midwestern gothic literary staple, Roberts' novel is about the daughter of a Kentucky tenant farmer, and Jenssen's haunting use of Joan Lorring's voice from the 1951 radio play adaptation readapts his usual icy predilections for suitably huger desert horizons. Rather than treating the vocal as ornament, he folds it deep into the mix, letting it dissolve into the melodic architecture.
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Review: A case of 'Paranoid' by name - and paranoid by nature. At least by the time the Brummie founding fathers of metal had reached 1975 and their sixth album Sabotage, the foursome felt attacked from all sides, blighted by wrangles with both management and record company alike. Those troubles have been 'blamed' for the particularly searing, angry musical form that the band hit at the time, something that's subsequently endeared the period to fans of all things heavy ever since. This radio broadcast would certainly seem to back that theory up, from a devastating opening salvo of 'Supertzar' from that sixth LP to trademark anthems like 'War Pigs', 'Paranoid' and a lurchingly fantastic 'Iron Man'. The stress and ahem, other lifesyle factors, would lead to this classic line up finally splitting in 1979 - leading to Ronnie James Dio's replacement of Ozzy - but this rich mid-70s purple patch captures them between mania and ultimate collapse.
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Review: Cologne-based Belfast boy Dominick Martin has been delivering deliciously good albums as Calibre for the best part of a quarter of a century, frequently departing from his trademark drum & bass sound to showcase his love of other sub-heavy and mind-bending sounds such as dub techno, ambient and dubstep. On Little Foot, his first album in two years and 22nd in total, he leans into this considered eclecticism. For proof, compare and contrast the tactile and dreamy 4/4 dub of 'Blame Dub', the dub-wise junglist bruk-up of 'Special', the mutant two-step delight of 'Ukrained', the angularm, sub-heavy UK techno of 'Threadvare' and the Mark Ernestus style spaced-out dub techno of 'Choosing Beggar'. And that's just CD1. A genuine triumphant from one of bass culture's most distinctive musical voices.
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Triptych: Resolve/Resist/Reimagine (feat Ayodele Casel, Milena Casado, Devon Gates, Morgan Guerin, Simon Moullier, Matthew Stevens)
Tears For Johannesburg (Julian Preister, Weedie Braimah, Milena Casado, Morgan Guerin & Matthew Stevens)
Freedom Is (Tamia Elliot, Ian Michael, Milena Casado, Morgan Guerin, Simon Moullier, Matthew Stevens & Devon Gates)
Review: Boston-based drummer and producer Terri Lyne Carrington reconvenes Max Roach's 1961 landmark with a sharp eye on both lineage and forward motion. Originally conceived as a civil rights-era protest suite, the project blends jazz, voice, and African-diasporic rhythm to address racial justice with clarity and force. This reinterpretation is not a soft tribute - it's a generational handover. Christie Dashiell takes on Abbey Lincoln's vocal role with arresting precision, while the ensemble (including Morgan Guerin, Matthew Stevens and Milena Casado) brings freshness without losing tension. Julian Priester, the sole surviving member of the original lineup, offers a subtle but weighty cameo. Tracks like 'Driva' Man' and 'Triptych' are stretched into wider shapes, drawing on funk, gospel and Afro-Latin idioms without softening the message. As Carrington puts it, this isn't just homage - it's a new freedom suite for now. The message, more than 60 years later, still burns brightly.
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Review: While not the band's final album, there's a solid argument to be made that 1995's Worry Bomb was Carter USM's last hurrah - a top-ten set that marked the beginning of the end for the distinctive South London duo. This expanded 30th anniversary edition pairs a remastered version of the original album -which boasts typically gritty, soaring and powerful classics such as 'Young Offenders Mum', the punky 'Airplane Food/Airplane Fast Food' medley, the riotous 'Me & Mr Jones' and the introspective 'My Defeatist Attitude' - with a disc of B-sides and rarities and, most excitingly, a previously unreleased live album of their performance at the 1994 Pheonix Festival. Throw in a DVD featuring videos, Top of the Pops appearances and freshly recorded interviews, and you have an essential item for Carter fans.
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Review: Nearly half a century after The Glow Of Love lit up dancefloors from Bologna to New York, Change return with Embrace: a sleek continuation of their post-hiatus revival, carrying the modern Italo dance group's name after early designs to release it as a Tanya Michelle Smith solo project. Produced by Stefano Colombo with input from founding maestro Mauro Malavasi, who also oversaw the title and artwork, the record builds on 2018's Love 4 Love with a dozen tracks folding disco, soul, and modern boogie into a freshly polished polygon of sprightly designer disco. While just 500 copies of the vinyl edition exist, the CD edition here exists in droves, and is sure to set any missed trick right.
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Cat: LM 001CD. Rel: 29 May 25
Ambient/Drone
Review: While he may well be best-known for his nostalgic, synthesiser-powered Warrington-Runcorn New Town Development Plan project, Gordon Chapman-Fox has also put out some fine music under his given name - not least 2023's ambient opus on Castles In Space's 'Subscription Library' offshoot. On Very Quiet Music To Be Played Very Loudly, Chapman-Fox delivers four expansive ambient soundscapes. He sets the tone with the Vangelis-esque synth suspense and spacey creep of 'Components', before opting for sustained, almost neo-classical sweeps and delay-laden electronic string sounds on 'Fringe'. 'Emphasis' is immersive and quietly picturesque, while closing cut 'Singular' is dark, moody and quietly paganistic - a kind of imaginary soundtrack to a 21st century folk-horror movie.
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Cat: IBOGAINE TD. Rel: 16 Jun 25
Deep House
Review: Brooklyn record distributor Atypical-dopeness offer the next edition in Joaquin Joe Claussell's Unofficial Edits & Overdubs series. Following a four-tracker of largely unnamed tracks released in 2020, Iboga continues the series, this time with an iterative avatar to top up Claussell's ever-moving house continuum. Claussell's output has lately taken on an ancestral turn, influenced by the hallucinations caused by chewing the roots of an iboga plant, a chemico-spiritual fixture of initiation ceremonies found across Central Africa (whether Claussell actually did take ibogaine isn't clear). What we do know is that, in dialogue with his heritage, Claussell found himself inspired by these initiatory rituals and so set about producing this eleven-track heart-rouser, fusing the overdubbed recorded sounds of Gabon, Cameroon and Congo with his own summative, spiritual, salubrious house sound.
… Read morePlayed by: Charlie bucket/ dancing in space
in stock $25.78
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Review: Throbbing Gristle co-founder and all round British experimental electronic institution, Cosey Fanni Tutti returns with 2t2, a new full-length set for release through her own Conspiracy International label. The new nine-tracker extends the tracked terrains of 2019's Tutti, blurring personal reflections on years of loss and upheaval into prosthetic electronic soundscapes. The record unfolds over two contrasting halves, one beat-driven, the other more introspective, yet it also keeps anchored to a certain ground point emphasising resilience and focus. Lead cut 'Stound' features overtone chanting, which Cosey describes as a way to channel inner strength: "allowing the sounds to permeate and soothe as well as create a sense of power."
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See Them A Come: The Joe Gibbs Singles Collection (unmixed 2xCD)
Cat: DB2CD 164. Rel: 13 Jun 25
Roots/Lovers Rock
Review: This first-ever CD anthology of Culture's earliest singles captures the trio in their purest, most incendiary form. Formed in 1976 by lead singer Joseph Hill, with Albert Walker and Roy Dayes, the Jamaican group emerged under the name The African Disciples before becoming Culture and signing with Joe Gibbsione of Kingston's most revered producers. What followed was a run of revolutionary 7"s and 12"s, including the seismic 'Two Sevens Clash', whose apocalyptic prophecy shook the reggae landscape. These recordingsinow collected in full, dub sides and allichart the group's 1977 to 1981 run with Gibbs, a period widely regarded as their peak. Tracks like 'Zion Gate' and 'See Dem a Come' show their power not just as writers of militant roots reggae, but as spiritual messengers, blending dread prophecy with hypnotic riddims. Even in dub form, these versions retain urgency and weight, anchored by Hill's unshakeable vocal tone and Gibbs's rich, bass-forward production. Later work with Sonia Pottinger would push their sound further afield, but what's here is raw, righteous and definitive. Eight tracks make their CD debut, finally doing justice to an era of singles that shaped both Culture's legacy and the wider trajectory of roots reggae itself.
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Review: Robert Smith has always treated remixing less like revision, more like ritual i a habit that's followed him since his days in Crawley, West Sussex and then surfacing officially on the first Cure remix album, 1990's Mixed Up. This triple-disc release of reworkings from the band's latest LP Songs of a Lost World feels assembled with obsessive care, mapping out every possible mood lurking beneath the surface. There are club-ready flips, yes i Sally C, Danny Briottet and Gregor Tresher all push the rhythm forward i but they sit beside glacial pieces that feel more like haunted sketches than reworks. Mura Masa's take on 'All I Ever Am' is disintegrated almost beyond recognition, its vocal a flickering memory. Mogwai's 'Endsong' feels like the end of the world in slow motion. Even Chino Moreno turns in something striking i 'WarSong' morphs into a sludgy howl with heat-warped edges. But it's the sequencing that surprises: these aren't bolted together, but grouped in arcs, as though Smith were arranging the bones of an old idea into something still alive. Four Tet's version of 'Alone' is a high point i deeply textured but featherlight. Like all The Cure's output, what really matters is the feeling of being drawn somewhere, and Smith's hand never letting go.
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Review: More than four decades after he first appeared in smudged eyeliner and a mop of jet-black hair, Robert Smith is still finding new ways to pull his music apart and stitch it back together. This new remix collection i assembled and curated by Smith himself i feels less like a victory lap and more like a restless dissection of a legacy he's still actively shaping. The collaborators here are hardly incidental: Four Tet, Orbital, Ame, Chino Moreno, Mura Masa, Trentemoller, Mogwai. It reads like a list built by someone still hungrily tuned into the present, not stuck in the past. And true to form, the results are all over the place i a feature, not a flaw. Some tracks lean into grandeur: Paul Oakenfold's take on 'I Can Never Say Goodbye' opens with all the sweeping melodrama you'd expect, while Daybreakers stretch 'WarSong' into widescreen synthwork. Elsewhere, Shanti Celeste and Ex-Easter Island Head bring a strange intimacy to 'Alone', teasing out its ache with a different kind of spaciousness. At times, you wonder if Smith enjoys seeing how far his work can be bent before it breaks. But it never does i even filtered through others' hands, his sense of tension, drama and deep emotional unease holds everything together.
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Pale Ravine (20th Anniversary Extended Edition) (CD limited to 300 copies)
Cat: MIACD 035. Rel: 30 May 25
Ambient/Drone
Review: Deaf Center's debut LP gets a 20-year anniversary reissue on CD, pairing the original 2005 album with 20 minutes of unreleased material from the same sessions. Originally out on Type, Pale Ravine marked the first full-length by Erik K Skodvin and Otto A Totland, who've since carved solo paths via Sonic Pieces. Drifting between chamber composition, shadowy electronics and the hiss of old tape, the record draws on their Norwegian roots and personal family histories. Grainy textures, ghostly pianos and wind-blown field recordings conjure a mood somewhere between forgotten reels of silent film and weather-worn Nordic folklore.
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Review: After rising through the ranks of the local punk scene in Palto Alto, California, during the late 1990s, all-female outfit The Donnas were whisked to national (and international) superstardom via a deal with major label Atlantic Records. This retrospective looks back on that period of the now-dormant band's career, combing their two albums from the imprint (2002's Spend The Night and 2004's Gold Metal) with a disc of singles, B-sides, rarities and live takes. That means heaps of heavy riffs, vocals espousing suburban teenage angst and hooky choruses on discs one and two, with the third disc delivering an attractive mixture of raucous pop-punk, nods to metal (one of their major infuences, fact fans) and becalmed and cheery acoustic versions.
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Review: The Doobie Brothers make a triumphant return with a revitalised lineup, uniting founding members Patrick Simmons, Tom Johnston, John McFee and Michael McDonald for their latest release. With a legacy built on infectious harmonies, impeccable musicianship and a genre-blending approach, the band has long been a staple in American rock and pop. Their newest project, produced by John Shanks, reflects both their storied past and evolving present. The album touches on personal themes of growth, recovery and a deepening understanding of life's essential truths, each track showcasing the band's uncanny ability to weave Americana, rock and soul into an expansive yet cohesive sound, while collaborationsiincluding a stirring appearance from Mavis Staplesiadd emotional depth. Tracks like 'Angels & Mercy' and 'Learn To Let Go' embrace themes of growth and recovery, while the title track, featuring Staples, offers a sense of hope and unity. As ever, the Doobies navigate complex emotions with timeless ease, proving that their distinct blend of optimism and introspection still resonates deeply, even after decades of musical evolution.
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Review: Brian Eno and Beatie Wolfe join forces on a dual release infusing two distinct musical visions rooted in shared environmental concern. Their new joint release unfolds across two sides, with Luminal offering a vocal-led collection leaning into alt-pop ambiances and timbres, before Lateral rears itself in counterpart as a seamless ambient composition, making up a study in contrast and connection. Recorded in London, the project reflects Eno's lifelong exploration of mood and atmosphere, alongside Wolfe's ongoing push to blur the lines of digital innovation and tactile experience. The project builds the activist art works of Wolfe, a British-American concept artist based in Los Angeles, named by WIRED as one of "22 people changing the world," and tracks the expression of music beyond language or form.
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Review: Brian Eno's career has always been about explorationiof sound, technology and the emotional power of music. After pioneering ambient music, Eno has consistently sought out new ways to blend different genres and voices and his latest collaboration with Beatie Wolfe continues this tradition. Wolfe, a British-American artist with an innovative approach to music and activism, complements Eno's atmospheric world with her emotive, alternative vocals. Their work, recorded in London, moves seamlessly from the meditative to the experimental, with tracks like 'Big Empty Country' offering stark contrasts between the brightness of the day and the shadows of the night. This release is not only a nod to Eno's sonic experimentation but also a testament to his lasting influence as an artist who always seeks to connect art with broader societal issues, especially the environment.
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Cat: MRI 214CD. Rel: 22 May 25
Modern Classical
Review: Some 13 years have now passed since Mississippi Records started reissuing private press albums by Emahoy Tsege Mariam Gebru, an Ethiopian Orthodox nun, pianist and composer whose naturally religious-inspired works frequently took spiritual music to fascinating new places. Here the label turns its attention to 1972's Church of Kidane Mehret, notable not only for being recorded live in various churches across Jerusalem, but also for the use of harmonium and pipe organ as well as Emehoy's beloved piano. The original album, which in line with her other album features intricate and mood-enhancing solo translations of orthodox liturgies, has here been expanded via the inclusion of two further piano pieces from 1963's ultra-rare Der Sang Des Reeres - a set of which only 50 copies were ever produced.
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Cat: SR 561. Rel: 19 Jun 25
Modern Classical
Review: Composed in New York by the Baltimore-born minimalist Philip Glass and released in 1971, Music With Changing Parts was the album that put his vivid, colour-rich sound on the map, marking a shift away from the ultra minimal 600 Lines (1967) and Two Pages (1968). Performed with free instrumentation, the piece allows musicians to switch between eight staves at specified cues, generating abrupt shifts in texture and timbre. Though its melodic material remains tightly looped and minimal, changes in orchestration continuously refresh the sonic landscape. Most striking is the psychoacoustic illusion Glass observed during rehearsals: when multiple players repeated the same short patterns, sustained tones seemed to emerge on their own. He eventually formalised this in the score, permitting long notes to enhance the effect. What results is a hallucinated resonance that pulses and flickersian early indication of the harmonic depth he would later bring to works like the miestone Einstein On The Beach.
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Review: Following 2020's acclaimed Women In Music Pt. III, which earned GRAMMY and BRIT nods, the LA-based American rock trio and sisters HAIM return with their bold fourth studio album on Polydor. Produced by Danielle Haim and Rostam Batmanglij, 15-tracker I Quit leans confidently into their noted classic rock influences while introducing fresh textures, including warped samples and stripped-back ballads. It's a record made for the stage as it is raw, dynamic and deeply rooted in their chemistry as live performers. The record reaffirms HAIM's place as modern rock trailblazers and is familiar yet evolving, so it will appeal to old fans and new ears with its fine balance of swagger and soul.
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Cat: JP 208CD. Rel: 12 Jun 25
Hip Hop/R&B
Review: American rapper JPEGMAFIA's latest is a sprawl-furious, funny and brutally confessional. It plays like a barrage of psychic snapshots: voice notes, demos, diss tracks, gospel flips and pixelated trap dreams. The first half (ending with 'ALLAH') forms a pummelling, meticulously sequenced core-'Jordan Rules' and 'JPEGULTRA!' crackle with fury, while 'i lay down my life for you' and 'Don't Put Anything on the Bible' show his growing mastery of melody and space. Vince Staples, Denzel Curry and Buzzy Lee slide into the chaos without diluting it. The second half loosens its grip: raw sketches like 'tour idea feb 1st 2025' and 'JIHAD JOE' stretch the project's limbs outward. It's unfiltered but not aimless-his vision is lucid even at its most erratic. From the title down to the tracklist, this is a record that dares you to look away and dares him to reveal more. It's the most complete JPEGMAFIA has ever sounded-uncompromising, contradictory, and fully locked into his own frequency. A closing chapter that reads like a manifesto.
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Review: Since the release of her last full-length excursion, No Thank You, in 2022, much has changed in the world of Little Simz - both personally and professionally. These twin themes naturally shaped the sound of Lotus, not only her first album in three years, but also a first without her long-term studio partner InFlo - a producer she is suing for L1million in unpaid royalties. She goes in hard (lyrically, we mean) on her former partner on opener 'Thief', a cinematic and loose-limbed number that perfectly encapsulates the more stripped-back, often organic beats and surprisingly personal lyrics that mark out the album. Highlights are plentiful, with the post-punk/punk-funk fired 'Young', string-laden 'Free', heart-aching 'Hollow' and Afrobeat-inspired 'Lion' amongst the standouts.
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Review: Coinciding with the "post-psych, pre-shoegaze" ingenues Loop's retrospective album, Twelves, on triple LP, this new CD version from Reactor offers a digital alternative for those proto-gaze indie heads seeking a clearer and cleaner sonic experience. Spanning the band's output in chronological order, this comprehensive set captures the evolution of Loop's hypnotic, fuzz-drenched sound, from the early '16 Dreams' demo and debut single, through 'Spinning', 'Collision', 'Black Sun' and 'Arclite', to rare contributions to Nick Drake and Neil Young tribute albums, and even a Godflesh cover from their Clawfist split. As it is with the vinyl version, The World In Your Eyes is a completist deep dive into Loop's essential non-album material.
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Review: The twelfth studio release from Manchester duo Marconi Union reaffirms why they remain such a quietly vital force in ambient music. Formed in 2003, the pair's latest work arrives after a two-year process of reorientation i one that saw them scrap old habits, test new material live, and ultimately return to the atmospheric instinct that first defined them. The result is a seamless 55-minute composition split into nine movements: fluid, immersive, and full of emotional nuance. It's a brand new release that spans sequencer-driven passages, low-lit drone work and impressionistic electronics, all stitched together with an elegant sense of pacing. 'Eight Miles High Alone', the first piece completed and shared publicly, sets the tone with a solitary pulse and slow-building tension i its clarity and weightlessness shaping much of what follows. The music unfolds without force, evoking both disquiet and release. Though wordless, the journey speaks volumes. A sense of modern anxiety hovers throughout, yet it's counterbalanced by warmth, space and stillness. After years of refining their sound across acclaimed releases and multimedia collaborations, Marconi Union deliver some of their most affecting work to date i not by reinventing themselves, but by rediscovering the beauty of doing less, slowly, and with purpose.
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Review: It may be almost a decade since the last - and previously only - album by Mark Ernestus' Ndagga Rhythm Force outfit, but in the time the expansive, percussion-led collective has toured extensively and subtly developed their African rhythms-meets-dub trademark style. Khadim, which features extensive contributions from vocalist Mbene Diatta Seck, is not only a welcome return to the studio, but also a genuinely impressive affair. For proof, check the percussion-rich Afro-dub science of 'Lamp Fall', where Seck's effects-laden vocals spar with dub techno synth motifs and deep sub-bass over a hand percussion-heavy rhythm track, or the more dub techno-focused early morning hypnotism of the inspired title track.
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Review: This 2017 remaster revisits Paul McCartney's 1989 return to critical favour i a release that saw the UK artist bridging new studio technology with classic songwriting craft. Working with Elvis Costello on several co-writes, and producers including Trevor Horn, Mitchell Froom and Steve Lipson, the record pulls in tight arrangements, layered instrumentation and a refreshed lyrical sharpness. Tracks like 'My Brave Face' and 'This One' pair bounce and brightness with detailed melodic phrasing, while deeper cuts like 'Don't Be Careless Love' and 'That Day Is Done' show a darker, more reflective register. The band lineup features long-time collaborators including Hamish Stuart, Robbie McIntosh and Chris Whitten, laying down solid, versatile performances across brass-led pop, mid-tempo ballads and soft rock with orchestral touches. It's a reissue that doesn't add much new material, but the pressing is clean and the Japanese-translated lyric booklet adds an archival touch. A sharply focused, musically rich snapshot of McCartney reasserting himself in the late 80s, with arrangements that still hold shape and detail decades on.
… Read more in stock $21.30
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Review: By the time Load landed in 1996, Metallica were unrecognisable from the denim-and-leather thrash band of the early 80s. Coming off the back of the colossal success of The Black Album (1991), they had gone supernova: stadium tours, chart dominance, and a sudden place in the mainstream they once seemed sworn to resist. Now their mid-90s pivot hears a squeakier-fresh round of polish through this UMR reissue, as Reuben Cohen handles remastering duties under the eye of longtime collaborator Greg Fidelman. Then and now: at the time, Bob Rock returned on production, as he had fo The Black Album, and again drew out a widescreen sound framing 'Until It Sleeps', 'Hero Of The Day' and 'King Nothing' for mainstream impact. This ed also finally restores the full-length version of 'The Outlaw Torn', which was shaved from the 1996 release due to CD length restrictions (the only time a Metallica album track was edited for format).
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Review: During interviews promoting their 11th album, Escape The Chaos, 90s trip-hop heavyweights Morcheeba have naturally been in a nostalgic and introspective mood; after all, it appears almost 30 years to the day from the release of the popular duo's debut single. Musically, it feels like a warming, string-laden, head-nodding blast from the past, with core members Skye Edwards and Ross Gordon being joined on the record by various musically gifted friends and family members. Fans will particularly love songs like 'We Live And Die', a John Barry Bond theme-esque exploration of their own undulating history, the rap-sporting mid-90s trip-hop blast of 'Peace of Me (featuring Oscar #Worldpeace)' and the languid, low-slung 'Call For Love', where Edwards is at her most lyrically alluring.
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Cat: 009362 4838883. Rel: 06 Jun 25
Punk/Hardcore
Review: Originally released in 2004 as their sophomore full-length, Three Cheers For Sweet Revenge would change both the career trajectory of New Jersey goth-punks My Chemical Romance whilst simultaneously turning the genre on its head with its unique fusion of macabre Misfits and Alkaline Trio worship married to the stadium-sized hooks and melodies of Blink-182 and Green Day. While it would be 2006's follow up The Black Parade that would turn the band to alt rock giants, it all started here with the iconic pop-punk banger and hit single 'I'm Not Okay (I Promise)', whilst later singles 'Helena' and 'The Ghost Of You' highlighted their expansive melding of emo, post-hardcore and punk rock, elevated by vocalist/lyricist/graphic novel illustrator Gerard Way's uniquely grim vision and Billy Borgan-esque vocal cadences. Certified Platinum less than a year after initial release, and selling 3 million copies in the US alone, this new deluxe edition features an entirely new remix plus four previously unreleased live recordings.
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Richard NORRIS / VARIOUS
Mr Norris Changes Brains (unmixed 3xCD)
Cat: 541416 668181. Rel: 03 Jun 25
Psych/Garage Rock
Review: Throughout his lengthy career, Richard Norris has always leaned into his psychedelic influences, seemingly finding a multitude of ways to meld minds via unusual fusions, trippy sounds and - as a DJ - an encyclopaedic knowledge of "psych music" in its many forms. On this superb three-disc compilation, he leans into the latter aspect, gathering 42 cuts, most pleasingly obscure, made at different points between the 1960s and today. There's naturally tons to set the pulse racing throughout, from the heavyweight psych-blues of Wool's 'Love, Love, Love', the elongated guitar solos of 'Trip' by Emma De Angelis and the Middle Eastern exotica of Koy Kardesler's 'Shuruk', to the quirky French electronica of Juantrip's 'Shadows', spacey synth-scapes of Ugo Bosoni's 'Rullio' and the pots-and-pans-percussion of 'Time Signals' by Klaus Weiss.
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Cat: RKIDCD 150. Rel: 12 Jun 25
Indie/Alternative
Review: As they prepare to squabble, rock out and reprise their infamously hooky riffs at a series of sold-out reunion shows, Oasis have decided to reissue their official best-off collection, 2010's Time Flies...1994-2009. Now presented in remastered, souped-up form, the two-disc set showcases all 27 of their UK singles (including non-album cuts 'Whatever' and 'Lord Don't Slow Me Down') as well as a hidden bonus track ('Sunday Morning Call', which appears two minutes after the final cut on disc two). While plenty of high points and fan favourites are missing, it does a great job in reminding us that Oasis were, at their very best, an iconic indie-rock band - as highlights such as 'Supersonic', 'Cigarettes & Alcohol', 'Some Might Say' and the epic 'All Around The World' emphatically prove.
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Review: UK soul hero Omar steps up with his ninth studio album, bringing the depth, clarity and control that have typified his uncompromising and deeply rooted musical journey. The songwriting is tight, the grooves are locked, and the arrangements leave space for the music to breathe. His voice is as expressive as ever i warm, precise, unmistakably his. There's a strong sense of shape to the album, from the clipped funk of 'Research' to the more open, reflective tone of 'There's Much Love in the World'. Strings, samples and live instrumentation all sit together naturally, with nothing overplayed or overstated. The ensemble guest appearances i India Arie, Giggs, Paul Weller, Raheem DeVaughn among them i add some masterful flourishes to an already engaging set. Always good to hear new music from the one like Omar, a man who will never be underrated by those in the know.
… Read morePlayed by: Craig Charles Funk And Soul
in stock $16.54
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Orbital (The Brown Album) (Deluxe Expanded Edition) (4xCD box set + hard-back book in spot-varnished slip-case)
Cat: LMS 1725319. Rel: 22 May 25
Techno
Review: Last year, the Hartnoll brothers gave their debut album, 1991's 'Green Album' (officially simply titled Orbital) the deluxe reissue treatment, offering an expanded quadruple CD edition backed with a detail-packed hardback book. They've now moved on to its similarly superb sequel (the 'Brown Album') from 1993. It gets a similar treatment, with a freshly remastered version of the original album (CD1) being joined by two discs of single versions, B-sides, remixes and 'Peel Session' cuts (including legendary Underworld and Psychik Warriors Ov Gaia takes on 'Lush 3', and the duo's own originally US-only extension of 'Impact'), and a fourth CD containing a previously unreleased live recording from the Limelight in New York in 1992. Oh, and a fine hardback book telling the story of the album. An early Christmas present for Orbital fans!
… Read morePlayed by: Juno Recommends Techno
in stock $77.36
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Cat: LMS 1725323. Rel: 22 May 25
Techno
Review: There's a strong argument to be made that 1993's Orbital II, popularly known as 'The Brown Album', is the Hartnoll brothers' finest single album - a sublime fusion of bustling breakbeats, heady vocal samples (many provided by then unknown vocalist Alison Goldfrapp), twisted acid lines, memorable melodic motifs, and rush-inducing breakdowns. Here reissued in remastered and expanded form, the set - which includes fan favourites 'Lush 3', 'Halcyon' and the superb 'Impact (The Earth is Burning)' the album sounds as fresh and forthright as ever. This time round, it includes a second CD featuring key cuts from the two-part 'Raddicio' EP (including two takes on the Scott Walker-sampling 'The Naked & The Dead') and superb revisions of Lush 3 by Underworld and Psychick Warriors Ov Gaia.
… Read morePlayed by: Juno Recommends Techno
in stock $15.14
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Cat: 4AD 0810CD. Rel: 22 May 25
Indie/Alternative
Review: Up there with other shoegaze trailblazers like Lush, My Bloody Valentine and Slowdive, Pale Saints set the bar for dreamy, eerie and atmospheric guitar music and have influenced countless bands sketching out similar sounds since. This third album of theirs, which is now getting the full re-release treatment after being long out of print, saw them achieve new pop heights. The three-minute banger 'Angel (Will You Be My)' and 'Under Your Nose' are particularly strong in this regard, with singer Meriel Barham sounding like she laid the foundation for what The Orielles would go on to become. Elsewhere, 'Henry' - a more than ten-minute epic - shows a more harrowing, dark side of theirs with slow and tuned down tones leaning more towards sludge metal. Pale Saints' ability to express themselves so diversely puts them up there as hallowed forefathers of shoegaze who will never lose relevance.
… Read morePlayed by: Juno Recommends Rock/Indie
in stock $14.30
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Cat: 198028 19819. Rel: 13 Jun 25
Indie/Alternative
Last Exit
Spin The Black Circle
Not For You
Tremor Christ
Nothingman
Whipping
Pry, To
Corduroy
Bugs
Salan's Bed
Better Man
Aye Davanita
Immortality
Hey Foxymophandlemama, That's Me
Review: If you're like us you've probably listened to Seattle grunge legends Pearl Jam's Vitalogy repeatedly and love the songs but think what could take this experience to the next level and reinstill that adrenaline that you had when you played it the first half dozen times. Well, this special audio blu-ray version makes it more realistic and immersive - and give you closer listening experience than you'd probably get even at a gig. With tracks such as 'Corduroy' and 'Better Man' easily in their top ten tracks, Vitalogy is Pearl Jam on top form and offers a sweet alternative to the more frequently championed Vs and Ten, whilst being arguably just as strong.
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Review: Seth Ford-Young's Phi-Psonics return with Expanding To One, a loose-limbed, quietly luminous third LP shaped from live sessions at Healing Force Of The Universe in Pasadena. Since founding the project in 2016, the East LA bassist has used Phi-Psonics as a vessel for collective improvisation and spiritual grounding, but this time there's a sharper edge; fourteen tracks, mostly conceived on the spot with a changeling group of collaborators, hear Ford-Young steer said ensemble through hushed dark jazz abstraction. With an ear for emancipatory politics - "the music we make doesn't exist in a vacuum and the backdrop of injustice and tragedy in our world has to be part of our music" - Phi-Psonics plays on a latent psionic ability in us all: to turn creative juices into truth.
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Review: Nearly a quarter-century after We Love Life, Pulp return with a new full-length, recorded fast, loose and on instinct. Sparked by soundcheck sketches during their 2023 reunion shows, 'Hymn Of The North' cracked open a formerly unconsidered inspiral vault, and the rest followed quickly in early 2024. Some material had lingered since the 90s; other swatches, meanwhile, are newly woven. With backing vocals courtesy of the Eno family, and strings arranged by bassist Richard Jones and performed by the Elysian Collective, the record was recorded in just three weeks in Walthamstow with James Ford at the desk. It's the fastest Pulp have ever worked, and possibly the most direct they've ever sounded.
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Review: Will Holland's first official mix release under his most familiar alias is a snapshot of a global career spent building communities across Bogota, Brooklyn and Brighton. Opening with the warm introspection of JJ Whitefield's 'The Mind Is A Palace' and the hazy psych-funk of The Heliocentrics, the selection soon tilts into submerged electronics via Dialect and Alfa Mist's brushed jazz motifs on 'In My Defence'. JKriv's 'Pifeiro Malandro' and Quantic's own 'Twang' bring syncopated bounce, setting up cumbia futurists Frente Cumbiero and a percussive remix of 'Theme From Selva'. Later, 'Eko Eko' and a live version of 'Motivic Retrograde' thread together low-slung breaks and synth-rich ambience, before Meridian Brothers' 'Un Grande Nubarron Se Alza En El Cielo' and The Maghreban's 'Covent Garden' ramp up the oddball charm. Anna Morgan and Ehua lock in high-BPM club energy on 'Throw Dat Azz' and 'Scintille', while Turbo Sonidero's 'Kumbia ESSJ' and Sobredosis's 'No Llores Por Mi' land like final toasts to dusk before the sun vanishes entirely. The journey ends, naturally, with a continuous mix of it all.
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Review: "Make some noise for more love in the world" says drum & bass legend Ray Keith before tearing into a high-octane tribute to three decades of jungle culture on The Renegade Live at The Jazz Cafe. This double CD was captured during his sold-out March 2024 performance in London and word is there is no digital version planned. Along the way, Keith blends classics like 'Terrorist' and 'Dark Soldier' with live covers of scene-defining anthems from Top Buzz, MC Fats and Splash. This electrifying set honours the genre's past while pushing it forward with assistance from vocalists Juiceman, Elisa and Miss Klair. Keith blurs the lines between studio power and live performance with unique charm here.
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Cat: BFD 418. Rel: 29 May 25
Rock
Review: Former Beatle Ringo Starr wasn't mincing his words when he called the line-up for his 2019 gig at The Greek 'All-Star'. From Santana's Gregg Rolie to Toto's Steve Lukather, Average White Band's Hamish Stuart to Men At Work's Colin Hay, there is some serious music industry heritage and high-level musicianship at work amongst those dudes. Starr doesn't waste the opportunity, running through a gamut of hits across an extended performance time, now captured on this two-disc set.
… Read more in stock $17.10
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Review: This exciting new compilation is a richly layered celebration of reggae's instrumental foundations. The second chapter in the Roots Architects project, this dub album gathers over 50 of Jamaica's most revered session musicians to breathe new life into rhythms rooted in reggae's golden era. Produced by Swiss keyboardist Mathias Liengme and dubbed by Roberto Sanchez, the record is a journey into the sonic textures of Kingston's legendary studios during the late 70s. Each track pulses with the timeless craftsmanship of players like Lloyd Parks, Fil Callender and Earl "Chinna" Smith. The dub treatments are both spacious and inventive, recalling the spiritual haze and echo-drenched brilliance of King Tubby and Lee Scratch Perry at their peak. Sanchez handles the desk with deep respect and balances fidelity with creativity. From Dub 'Til Now is a historical tribute of reggae's enduring history.
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ROYKSOPP / VARIOUS
Late Night Tales (reissue) (mixed CD)
Cat: CSRD 77025142. Rel: 27 May 25
Balearic/Downtempo
Review: Second time around for Royksopp's superb contribution to the popular, post-club focused LateNightTales mix series, a beloved volume that first hit record stores back in 2013. For the uninitiated, it sees the long-serving Norwegian twosome offer up an attractive blend of synth-heavy Scandolearic shufflers (their own cosmic pop number 'Daddy's Groove'), dubbed-out soul (Rare Bird), swelling synth soundtrack fare (Vangelis), neo-classical (Johann Johannsson), reverb-laden accapella beauty (Prelude), sun-soaked blue-eyed soul (Richard Schneider Junior), nods to the KLF's Chill Out album (Acker Bilk), seductive slow jams (Byrnes & Barnes), vintage Balearica (Andreas Vollenweider, John Martyn) and atmospheric new wave (XTC, This Mortal Coil).
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Cat: 6626 3. Rel: 17 Jun 25
Uplifting Trance
Review: German DJ/production team Sash! stormed into the mid-90s with a turbocharged take on trance and Eurodance, dominating charts and countless club nights. The breakthrough came with underground cut 'It's My Life', but it was 1997's 'Encore Une Fois, first indended as a high-drama, French-vocal trance extra, that launched his career, precipitating a flurry of scene-shaping hits: 'Ecuador' with Rodriguez, 'Stay' with La Trec, 'La Primavera', and 'Mysterious Times' with Tina Cousins. This 30th anniversary CD digs deep into that golden era with full-length, remastered extended versions, and includes more experimental turns like the Boy George collab 'Run', plus the colossal streaming-era revival hit 'Rock My Body' with R3hab and Inna.
… Read more in stock $19.62
