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Back catalogue: All genres
Juno's full catalogue of All genres
单曲
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专辑
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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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Cat: REVENGE 010CD. Rel: 12 Jun 25
Dirty Dubstep/Trap/Grime
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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: LHC 38. Rel: 01 Jan 90
Psych/Garage Rock
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Cat: LPO 0134. Rel: 19 Jun 25
Modern Classical
The Prince Of The Pagodas, Op 57 - World Premiere Recording (Selections From The Ballet, Abridged By Edward Gardner)
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Cat: 198028 61362. Rel: 13 Jun 25
Punk/Hardcore
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Review: Different Rooms finds Jeremiah Chiu and Marta Sofia Honer file their patchwork method of tape-splicing, improvisation and studio play down to a fine, sharpened nib. Written and assembled between late 2024 and early 2025 in their adjoining Los Angeles studios, the album weaves live performance with granular synthesis, viola stacks, and manipulated field recordings gathered from train platforms, city streets and domestic spaces. Unlike the drifting landscapes of Recordings From The Aland Islands, their newest LP as a pair keeps rooted in a replication of deep urban listening, attuned to passer-by street textures. Jeff Parker and Josh Johnson appear on archival improvisations folded seamlessly in; though despite outside collaborations the sequence loosely mirrors itself, with motifs returning in altered form, echoing the project's core idea: though we move through different life "rooms", they are in uncanny enfilade, each ghostlily similar to the last.
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Cat: MA 99. Rel: 19 Jun 25
Jazz
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Cat: EWOC 03CD. Rel: 12 Jun 25
Jazz
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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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Cat: WKC 7757482. Rel: 13 Jun 25
Punk/Hardcore
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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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Cat: LSD 95B. Rel: 19 Jun 25
Dub
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Review: The CD edition of a wider multi-format reissue, Greatest documents, well, the greatest greatest hits compilation to span the steadfast, enduring work of Brum new romantic hopefuls turned interstellar pop stars Duran Duran. Originally released in 1989, The Greatest is a choice career retrospective and update to the earlier 1989 compilation album Decade, where the new wave band's evolution over the elapsing of yet another decade solicited further tribute. Tracks like 'Notorious' flaunt their seamless move into funk-infused pop, while 'The Reflex' catches the polished, experimental edge of their mid-80s era. And of course, the Bond theme "A View To A Kill" remains to this day the only 007 theme to reach number one in the US.
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Cat: 802439 1148624. Rel: 12 Jun 25
Rock
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Cat: AV 2018134. Rel: 11 Jun 25
Progressive Rock
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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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