Mute 黑胶唱片和CD

Review: A Certain Ratio, Manchester icons, are back and in fine style with the new album It All Comes Down to This, which arrives here on eco vinyl. This record, while nodding to their roots, delivers 10 succinct tracks infused with the group's distinctive electronic touch and marks the first recording featuring the core trio of Jez Kerr, Martin Moscrop, and Donald Johnson without additional collaborators. The album exemplifies the band's ongoing evolution with short and sweet cuts like 'All Comes Down To This' next to the compelling likes of 'Bitten By A Lizard' and plenty in between.

Review: It All Comes Down to This is the album latest release from Manchester icons A Certain Ratio, and it's a record that is helmed by producer Dan Carey from Speedy Wunderground. Somewhat returning to their origins, the record presents ten concise tracks with a hint of the group's signature electronic flair. Notably, it's the first recording featuring the core trio of Jez Kerr, Martin Moscrop, and Donald Johnson, without any additional collaborators. From their celebrated 1982 album and right up to their dynamic last EP in 2023, this album shows the band's still evolving and still committed to new musical advancements. A testament to their enduring legacy, It All Comes Down to This solidifies A Certain Ratio's place among Manchester's finest.

Review: Manchester mavericks A Certain Ratio have been on a rare run of form of late, with 2023's 1982 counting as one of their most vibrant and endlessly entertaining albums for decades. Of course, all their albums are of a consistent quality, but It All Comes Down To This genuinely crackles with energy. From the word go, the veteran band's inherent funkiness is present, but this time it comes cloaked in fuzzy funk-rock guitar riffs, acid-fried effects, and vocals that are amongst the most forthright they've committed to wax (or, in this case, CD). In many ways, it is - as the band and producer/Sopeedy Wunderground boss Dan Carey intended - a 'back to basics' sound that focuses on the key aspects of ACR's sound. When those 'basics' are so strong, it's no surprise that the results are this impressive.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Borrowing its name from a far right militant organisation dedicated to Christian identity and survivalism, active int he USA in the 1970s and early-80s, The Covenant is a Cabaret Voltaire album in every way, shape and form. Number seven from the band, it landed in 1985 through Some Bizarre Records, a fitting name for the imprint given the contents here, which push the boundaries of synth pop and new wave to the very edge of understanding, while still remaining wholly listenable, danceable, and accessible.

Such was the genius of the late Richard H. Kirk, RIP. Then, as now, this might not be everyone, particularly tracks like the rather haunting and Neo-industrial 'Whip Blow', although fare such as 'Motion Rotation' could easily get any room full of any people onto their feet. Nevertheless, it's testament to just how incredibly creative and bold the Cab Vol vision was. And still is.

Review: Forged in the darkness that exists beyond shadows, Scope Neglect opens up a new chapter in the storied career of cult producer, musician, and artist Ben Frost. A record of almost-unfathomable ferocity, taking inspiration from the blackness of industrial and metal, core elements of these scenes are untethered, taking us to a stylistic unknown - abstract, brooding and unflinching. Seven years after his last LP, at which point he told The Guardian 'I don't know if I have any more records left in me', the enigmatic polymath - a celebrated underground icon whose work spans film, visual art, and opera - proves his own doubts were unfounded. Scope Neglect is a spectacular powerhouse of sound that feels made for spaces bigger than any room, hall, or stadium. Left unrestricted, it could be capable of reaching the ends of the universe itself.

Review: While Ben Frost's work has long been marked out by deft-touch dark ambient, experimental instincts and clandestine aural textures, he's always thrown in surprise excursions and drawn on musical inspirations that other like-minded producers would fear to embrace. This latter characteristic comes to the fore on Scope Neglect, his first solo set for six years. Remarkably, it utilises the moodiness, weight and ten-ton guitar licks of metal - played by Car Bombs guitarist Greg Kubacki and bass-slinger Liam Andrews of My Disco fame - as a starting point. Frost naturally puts these through the sonic wringer, combining them with his own skittish, IDM-influenced beats, dark ambient soundscapes and razor-sharp electronics. The results are unusual, impressive and emphatically enjoyable, sitting somewhere between timeless electronica, Nine Inch Nails and experimental metal.

Review: In celebration of its 25th anniversary, Looper's cult classic Up A Tree receives a deluxe reissue that breathes a little new life into the indie favourite. Marking a milestone in the band's career, this edition on limited and translucent green vinyl (including a one-sided organ flexi-disc) offers remastered tracks that showcase Looper's signature blend of electronic experimentation and infectious melodies. Packed with nostalgic charm and still-innovative production, the record which reached #21 on the UK Independent Album chart continues to captivate audiences and comes with remixes, reworks, new sleeve notes and alternative artwork.

Review: Mute presents These Immortal Souls' first full-length album, Get Lost (Don't Lie!), remastered on vinyl and CD. Reissued in conjunction with the 1992 follow-up I'm Never Gonna Die Again, both albums are hearing a thorough looking-back-on in celebration of a full 35 years of their original releases, and the celebration of the life of founding member Roland S Howard. Remastered from the original tapes at the legendary Birdland Studio by Lindsay Gravina and original These Immortal Souls members Harry Howard and Genevieve McGuckin, the 30-minute, seven-track LP is a terse, noise-racked statement and is more cacophonous and disorderly than its dreamier, drawling follow-up.

Review: Mute's re-release of These Immortal Souls' debut album, Get Lost (Don't Lie!), marks a long-awaited moment for fans of post-punk excellence. Remastered from the original tapes by Lindsay Gravina, along with original band members Harry Howard and Genevieve McGuckin at Birdland Studio, this edition breathes new life into the iconic record. Originally unleashed in 1987 on the heels of their debut EP, Marry Me, the album encapsulates the band's raw energy and uncompromising vision. Led by the unmistakable vocals of Rowland S. Howard, renowned for his work with the Birthday Party, the band's lineup, including Harry Howard, Epic Soundtracks, and Genevieve McGuckin, solidifies their place in the annals of post-punk history. Clocking in at a concise 30 minutes, Get Lost (Don't Lie!) remains a potent sonic statement, capturing the essence of These Immortal Souls' dark and brooding sound. From the haunting atmospheres to the frenetic rhythms, each track is a testament to the band's collective talent and creative chemistry. For both seasoned enthusiasts and newcomers to the These Immortal Souls saga, this reissue serves as a fitting tribute to a band whose influence reverberates through the underground music scene.

Review: Mute's reissue of These Immortal Souls' sophomore album, I'm Never Gonna Die Again, has been long awaited by fans of the band's dark and brooding sound. Remastered from the original tapes by Lindsay Gravina, along with original members Harry Howard and Genevieve McGuckin at Birdland Studio, this edition breathes new sonic life into the haunting melodies and gritty textures of the album. Originally released in June 1992 after a hiatus due to Rowland S. Howard's writer's block, the album marked a triumphant return for These Immortal Souls. Lead single 'King of Kalifornia' set the tone with its gritty intensity, showcasing the band's evolution since their debut. Joined by Anthony Thistlethwaite on saxophone and slide mandolin, the band's lineup remained formidable, with Rowland S. Howard's distinctive vocals and guitar work leading the charge. Alongside Harry Howard, Epic Soundtracks, and Genevieve McGuckin, they craft a sonic landscape that was both haunting and hypnotic. For fans of post-punk and dark wave, I'm Never Gonna Die Again remains a standout in These Immortal Souls' discography. With this reissue, Mute pays homage to the band's enduring legacy, ensuring that their music continues to gain new fans for years to come.

Review: These Immortal Souls was an Australian Indie rock band who released two albums and a handful of singles in the period from 1987 to 1998, signing to Mute records in a period when the label was mostly working with electronic bands of some sort. These Immortal Souls were more of a retro rock group that would probably be grouped more with bands like The Mighty Lemon Drops, The Jesus & The Chain or Nick Cave, and Extra gathers some of their best work for a compilation that turns out to be a fine tribute to the band who were clearly ahead of their time.

Review: Latest on Mute Records' reissuing arm is this wonderful eight-track LP from These Immortal Souls, who in 1992 proffered a bold declaration of immortality, spiritual or otherwise, with I'm Never Gonna Die Again. An atmospheric post-punk gem, reissued alongside the earlier 'Get Lost (Don't Die)', is released just as it was in 1995, though it is soon set to be complemented by a brand new ten-track collection of unearthed and yet to be released live recordings. All three releases serve as a remembrance triad for the band led by Rowland S Howard, as they'd cease to perform in 1998; this one hears them at the height of their powers, snarling, riffing and drawling away into a graveyard-shifting musical night.