Back catalogue: Indie/Alternative

Review: Shadowed Tales From Mulhouse by iconic punk group The Damned is a haunting journey into the depths of musical darkness. The album captivates throughout with its eerie melodies, ethereal vocals, and brooding atmosphere. Each track exudes a sense of mystery and intrigue, drawing the audience into a world of shadows and secrets. The band's masterful instrumentation and haunting lyrics create a spine-chilling experience that lingers long after the final note fades away. All of this makes Shadowed Tales From Mulhouse is a testament to The Damned's prowess as musical storytellers, leaving listeners enthralled and eager for more from this enigmatic ensemble.

Review: The fourth studio album from '90s pop-punk-ish alt rock band Del Amitri, Twisted followed 1992's Change Everything, and amounted to a classic among the greats in their discography (though it was the last to feature the guitarist David Cummings). The album's bright, car-mixed songs - 'Roll To Me', 'Never Enough', 'Start With Me' - heard the band retain their omnipresent melodics, though it also marked a shift towards an even sunnier and heartfelt direction than the preceding album, not to mention serving as a sonic companion to the nascent Britpop craze, albeit not directly influenced by it.

Review: It's 1990 and Depeche Mode couldn't really be riding much higher in the global music stakes. Having just released Violator, the band had finally debuted an album inside the Billboard Top 10 for the first time in their almost-decade-long history, and pretty much anyone who came into contact with the record was very quickly captivated by its sound. While definitely not a curveball, it marked an expansion of the group's existing style. Some have described it as synth-pop, others alternative rock. In many ways, it's a dance floor album, one that embraces goth and coldwave at its very core. Captured during their tour at that time, Set In Stone features landmark singles from the LP - 'Personal Jesus', of course, and 'World In My Eyes' - it also proves beyond any doubt that a Depeche Mode show is about more than simply playing the hits.

Review: When Dinosaur Jr. were recorded live in Paris the iconic garage punk outfit were undoubtedly at the very top of their game. Three years after adding Jr. to their name, the creative output at this point was incredible, carving out a position for themselves as purveyors of powerful noises that were as raw and gnarly as they were complex and intelligent. A band that could turn rough and ready chords into walls of sound capable of tearing the roof off and lifting us all into the stratosphere. Never before released, this companion piece to 2022's best-selling live-on-MTV EP, Seventytwohundredseconds, is exemplary of the stuff they built that reputation on. From the gnashing riffs of 'Just Live Heaven', to the wasp-in-jar-energy and cacophonous peaks of 'Drawerings', and 'Keep The Glove' erupting into mind-blowing guitar work, and 'Budge' arguably taking that to greater heights, this is Dinosaur Jr. at maximum roar, and it will never not be impressive.

Review: Drahla, a Leeds-based post-punk band, returns with their sophomore album, 'Angeltape', four years after their debut. This highly expected release showcases the band's signature blend of raw energy and experimental flair. Highlights include 'Default Parody', a track that immediately establishes Drahla's unique sound. The song's jagged guitars and funky bass grooves evoke the spirit of Gang of Four and Psychedelic Furs. The vocals, delivered by Luciel Brown, are a raw and emotive force, capturing the album's themes of alienation and despair. 'Second Rhythm' showcases the band's versatility with its hypnotic vocal approach and gritty guitar work. The heavy bass provides a solid foundation, driving the song forward with a relentless intensity. Throughout the album, Drahla's lineup of Riggs, Ainsley, Barr, Brown, and Duffin showcases their exceptional musicianship. The interplay between the guitarists, bass, drums, and saxophone results in a rich and dynamic soundscape that captivates the listener. With this release, Drahla has cemented their status as one of the most exciting and innovative bands in the post-punk scene.

Review: Formed in the post-punk era of Manchester in 1978, The Durutti Column, led by guitarist Vini Reilly, has remained an enigmatic and influential force in the history of post-punk. Their 1989 release, aptly titled Vini Reilly, is a testament to Reilly's eclecticism and sonic experimentation. The album spans a vast musical landscape, encompassing elements of post-punk, rock, acoustic, avant-garde, jazz, classical, folk, pop, and electronica.The album's 35th anniversary reissue box set includes many great additions that allows listeners to appreciate the enduring impact of his artistry, as he continues to inspire and challenge music enthusiasts worldwide. Includes new essay by Durutti Column/Factory Records expert James Nice, liner notes by band member Bruce Mitchell, liner notes from Anthony Wilson, interview extracts with Vini Reilly and restored images and outtake images.