Back catalogue: All genres

Review: 'Fast Car' was a groundbreaking song when it came out. Making Tracy Chapman a household name. The song became an international hit and entered the top ten in many countries including being number one in Canada, Ireland, Belgium, Netherlands and Portugal. The single went triple platinum in UK alone. The song was lauded for being a moving account of escaping life's difficulties and achieving some material success only to fail again. Tracy's performance was riveting and the song propelled her to win three Grammy's that year including Best New Artist, Contemporary Folk Album and Best Female Pop Vocal Performance. The song was also nominated for Song of the Year and Record of the Year. The song continues to be an enduring classic having entered the charts multiple times and been covered my many artists. The song is also featured in Rolling Stones 500 greatest songs of all time.

Review: Robert Chini (pronounced keeney), a native of Southern California, is a multi-instrumentalist and singer/songwriter who began his musical journey as a drummer at the age of five. With a star-studded career as a touring member of many a famous band including Peaches And Herb, Tower Of Power and Air Supply, Chini's efforts have still yet to falter or fly under the radar; quite to the contrary, he's still going strong, currently performing as both a solo artist and studio operator. 'Doin' It all For You' was written and recorded in 1979, while the B-sider here, 'Everlasting Love', was written and recorded three years earlier. Both songs hear Chini sing of commitment and dedication to love, narrating a journey from internal preoccupation with the self to finding a sense of eternity in devotion to another.

Review: Everyone's favourite dream pop slow-jammers Cigarettes After Sex return with two new singles on a single 12" record. On the heads, we've got 'Bubblegum', a kinky but mournful head-plodder, which concerns the object of their affections taking on a Russian-roulette-ish approach to sex and relationships. The tail-side's 'Stop Waiting', meanwhile, is ever-more hypnotic, and clearly intends to be the hidden gem of the two. You'll hear a slightly brighter and more optimistic song than the A-side, but it's still deeply morunful, with Greg Gonzalez singing of the faded memories of cut ties, sunscreen and summer dresses.

Review: Experience two of Joy Division's iconic post-punk tracks like never before with exclusive 7" vinyl from Numero Group. Codeine's 1994 rendition of 'Atmosphere' captures the essence of solitude with a melancholic yet melodic twist that marked the iconic Manchester band's poignant farewell. Meanwhile, Bedhead from Dallas offers a fresh perspective on 'Disorder' and transforms it into vibrant indie rock. Encased in a sleek black and silver sleeve adorned with embossed braille lettering, these twin readings pay homage to Joy Division's enduring legacy while inviting listeners to explore new interpretations of their timeless classics.

Review: Comet Gain, a British indie pop band formed in 1992, have been crafting their distinctive sound for over three decades. Led by singer-songwriter and guitarist David Christian (aka David Feck/Charlie Damage) and Phil Sutton, their music draws from post-punk and Northern Soul influences. Starting with homemade cassette demos, Comet Gain's releases have spanned labels like Wiiija Records, Fortuna Pop! and Tapete Records. Despite numerous lineup changes, David Christian has remained the constant force behind the band. Early gigs saw them supporting acts like Stereolab, Television Personalities, Bikini Kill and Heavenly, and they also recorded several Peel Sessions, touting a musical style ranging from soul-influenced indie pop to early-80s alternative pop and punk. This 7" record features two tracks recorded in the Spring/Summer of 1996. Side A's 'Only Happy When I'm Sad' and Side B's 'Dreams Of A Working Girl,' appearing on vinyl for the first time, originally debuted on the NME C96 compilation CD.

Review: A pair of Cure singles, one a classic from the 80s and the other more of a deep cut from the 1996 album Wild Mood Swings, caught here in the live arena on turned into two sides of a rather nifty 7" picture disc. 'The Walk' is one of the Crawley crew's most electronic moments, a Japanese-slanted retort to New Order's huge 'Blue Monday' single a more cynical observer might be moved to admit. It's immediately nevertheless one to transport you back to the lazer-peppered, smoke machine-swathed dancefloors of the era, with its concluding line "I remember everything" seeming particularly apt in hindsight. 'Mint Car', while less well known than many other Cure 45s, was nevertheless one of Robert Smiths' favourites. He, apparently, couldn't fathom out why it only charted in the low 30s when 'Friday I'm In Love' smashed the top ten. Perhaps the outbreak of utter cheeriness - "I really don't think it gets any better than this/vanilla smile and a gorgeous strawberry kiss" - was disconcerting considering the band's pretty much unrivalled reputation as the popes of mope, but its charms are undeniable and definitely due a restrospective reappraisal.

Review: Car Seat Headrest's approach to releasing records evokes a bygone era in the late 60s and 70s when it was really common to bash out an album every few months. Despite having only formed in 2010, the Virginia, US indie sorts now have 13 studio albums to their name. The band's singer and songwriter Will Toledo is prolific in releasing solo recordings on top of that, so hats off to them, really. It's not filler either. With the opening number 'CCF (I'm Gonna Stay With You)', they have one of the most anthemic rock tracks of the year so far (it takes a while to warm up but the pay off is huge) it's the sound of a group more confident in their ability than ever. Elsewhere, 'Reality' sees them shift gears into more of a ballad, but with so many twists and turns. That you don't quite know what's coming next is a welcome respite from formulaic rock and pop. Not everyone can pull it off but Toldeo and co. have earned the right to tear up the rulebook because they are operating on another level.

Review: On its original release in 1994, Up To Our Hips marked something of a sonic departure for the Charlatans. Heavily influenced by Mod and psychedelic music of the 1960s, it saw Tim Burgess and company push organs to the fore, more densely layer their guitars, and develop a nostalgic "Britpop" sound fully in keeping with the nostalgic 'Cool Britannia' vibes of the era. 30 years on, it remains one of their strongest and most entertaining 'classic' albums - as this fully remastered and expanded reissue proves. This time round, the original album is backed by 10 additional cuts - a mixture of rarities, B-sides, demos and live recordings. It should be seen as the definitive version of one of the band's standout moments.

Review: Chime School main man Andy Pastalaniec may hail from San Francisco, but his brand of bright, breezy and densely layered "jangle pop" arguably owes more to British indie and alternative of the 80s and 90s than the psychedelic rock that his home city has long been renowned for. While undoubtedly nostalgic and reminiscent of a more wide-eyed age - think nods to Johnny Marr, shoegaze, early Blur releases, Teenage Fanclub and so on - it's a fully-formed and genuinely baggy sound that's impeccably realised and genuinely impossible to dislike. The Boy Who Rain The Paisley Hotel is the second Chime School album - a self-titled debut set dropped three years ago - and further fleshes out Pastalaniec's retro-indie sound with the help of a clutch of genuinely memorable songs and future indie club singalongs.

Review: 1982's seminal fifth and final album from the classic lineup of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon needs little introduction, but will now receive some additional sonic context in the guise of 'The People's Hall.'

Compiled by the living members of The Clash, this expanded edition features 12 previously unreleased rarities and outtakes including a version of 'Know Your Rights' recorded at The People's Hall on The Rolling Stones' Mobile Studio.

Offering greater insight into the recording, demoing and ideas process behind arguably the last definitive Clash album as well as one of the all time punk-rock greats, these additions are essential for any true Clash cultist.

Review: Change lies at the very heart of "Carousel", the third and perhaps most-eagerly anticipated Clock Opera album to date. After all, it has been a long time coming. Spurred on by the personal experiences of Guy Connelly, if you're looking for something to buy loved ones as they enter parenthood for the first time, this may be it.

That's not a reference to dad rock or housewife pop. In the grand scheme of electronic music this is certainly at the safer end, informed by Brian Eno's ambience or "Homogenic"-era Bjork as much as sprawling, classically-informed science fiction. But it's anything but throwaway. Instead, it's the overarching themes that mark this one out as the ideal gift for those in periods of great transition. It looks at the challenges of newfound fatherhood, considers sacrifices necessary to alter behavioural patterns and asks what identity really means. Profound stuff.

Review: The Moon and the Melodies, a remarkable collaboration between Cocteau Twins and ambient pioneer Harold Budd, remains a standout achievement in both artists' repertoires. First released in 1986, this enchanting album is now receiving a well-deserved vinyl reissue, meticulously remastered by Robin Guthrie from the original tapes. This album is a stunning fusion of the Cocteau Twins' signature dreamlike atmospheres with Budd's elegant, improvisational piano, resulting in a listening experience that is both expansive and deeply personal. The blending of Elizabeth Fraser's ethereal vocals, seamlessly intertwined with Guthrie's luminous guitar work and Raymonde's resonant bass, creates a sound that is both distinct and evocative. The album effortlessly balances vocal tracks with instrumentals, each adding to its rich and diverse sonic palette. This reissue offers a chance to rediscover a defining moment in the evolution of dream pop and ambient music. The Moon and the Melodies continues to stun audiences. This CD edition is the perfect vehicle to an ethereal beauty of the highest order.

Review: As the playful title suggests, Transmission Impossible brings together a trio of Coldplay concert recordings which were originally captured for radio broadcast. CD1 takes us back to 2007 and a set from Buenos Aries heavy on early classics ('Yellow', 'Clocks', 'God Put a Smile On My Face', 'Fix You' etc.), while CD2 finds the Winchester band at UEA in Norwich in 2011, performing said classics alongside more tracks that turned them into global indie-pop superstars ('Mylo Xyloto', 'Viva La Vida'). Disc three, the most recent performance of the lot, dates from 2016 and includes, amongst its numerous highlights, soaring, stadium-sized takes on 'Paradise', 'Hymn for the Weekend' and Leonard Cohen classic 'Suzanne'.

Review: 'Girl Like You' hitmaker and former Orange Juice frontman Edwyn Collins has written some absolute corkers in his time and against all the odds - he's been through the wars with his health - is on life-affirming form still. This is his tenth solo album and, like his previous album Badbea, it was recorded in the beautiful Clashnarrow Studios in the Highland village of Helmsdale. The setting clearly a productive space as there's tunes on here that sit right up there with Collins' best work. 'The Heart Is A Foolish Little Thing' is a masterpiece so good it will likely either inspire budding songwriters or make them give up because they know that's the level to get to and it feels untouchable. 'Strange Old World' is another standout, with a bit of a darkly atmospheric Tarantino vibe. And ' The Mountains Are My Home' delves into more traditional folk and feels incredibly heartfelt, like we're being welcomed into Collins' home for tea.

Review: If you missed The Comet is Coming's brilliant debut album, Channel The Spirits, first time around, help is at hand. Happily, the Leaf label has decided to reissue the Mercury Music Prize nominated album, expanding it to two discs via the addition of 2015's similarly sublime Prophecy EP and a trio of previously unheard wig-outs. The genius of the London combo's music lies in their unique and eccentric approach to musical fusion. While their roots lie in fusing spiritual jazz and freaky psychedelic rock, keen listeners will hear a myriad of other influences and inspirations seeping into their distinctive instrumental compositions, from spiraling electronica, Afrobeat and skewed funk, to ambient, dub, drum and bass, Roots Manuva and low-slung industrial funk.

Review: Confidence Man's third album, 3AM (LA LA LA), captures the wild energy of London's club scene and the 90s rave culture, blending euphoric dance beats with a darker undercurrent. Written during late-night studio sessions, the album pulses with breakbeat, trance, and techno influences, pushing their sound into bolder, more intense territory. Tracks like 'I Can't Lose You' and 'So Whay' hit with fierce, rave-ready energy, while vocalist Janet Planet's playful lyrics echo the spontaneity of a night out. The group's penchant for theatricality and fun comes alive in their live shows, full of synchronised dance moves and chaotic party vibes. Compared to their lighter 2022 album Tilt, 3AM (LA LA LA) is a wilder, harder experienceia hedonistic celebration that reflects the delirious, sweaty-ceilinged clubs. It's Confidence Man at their boldest, offering an electrifying escape.

Review: Manchester indie icons The Courteeners - second only to Oasis in their home city - treated fans to a retrospective promo run in 2023 after releasing the 15th anniversary edition of the album that made them stars: St. Jude. And they landed their first number one in the process. Riding off the back of that success, Liam Fray and co. have an album of all new songs for 2024 and have done it in tandem with the aid of a new generation of indie risers and more established names. This, their seventh studio album, is easily their most collaborative work to-date. Stone Roses-esque Aussies the DMA's, hotly-tipped indie pop singer Pixey, The Coral-backed singer Brooke Coombe were handpicked to be featured artists, while the likes of The Coral's Ian and James Skelly and Blossoms' bassist Charlie Salt are on the record too. One of The Courteeners biggest strengths is their ear for a hook that sticks and in this respect listeners to the new album won't be disappointed. The single 'Solitude On The Night Bus' is a major case in point. It will have you whistling it long after it's stopped playing. Elsewhere, 'The Beginning Of The End' is euphoric with soaring vocals and lush instrumental arrangements. Perhaps they've taken after the Coral in doing so but the introduction of steadier tempos and their nods to Phil Spector's wall of sound technique is something they wear well. Their best since St. Jude.

Review: Much loved emo post-punk outfit The Cure not only released several superb albums but were also a brilliant band to catch live. Over their career, they played many a seminal live show for radio or TV broadcast and now the best of them has been picked apart and collated on this new five-CD box set. The Broadcast Collection spans 1979 to 1996 and includes all your favourites like 'Killing An Arab', 'Boys Don't Cry' and 'Just Like Heaven' (in fact more than one version of some of those make the cut) next to plenty of lesser-known but no less good jams.