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Review: An underrated totem of British rock due to their many-sided, idiosyncratic ways, 10cc have a deep and rich legacy which broke through to mainstream recognition on just a few occasions. One of those occasions was the evergreen 'I'm Not In Love', a blue-eyed soul ballad for the ages, and it appeared on this, their third album. If you were expecting more of the same from the rest of The Original Soundtrack though, think again, as this outfit of insanely talented musicians follow their own creative whims. 'Life Is A Minestrone' is another of the band's most appreciated songs, but for the real 10cc experience let it play from the start and prepare to be swept away in the pomp and splendour of a daringly different kind of British rock band.

Review: When Cocteau Twins released Milk & Kisses in 1996, it wasn't presented as their last album. It was only two years later when they went to record a follow-up they decided to call it a day. Despite that, it was actually the smoothest album to record after the dust has settled from interpersonal relationship breakups, and the harmony between the band shines through in these beautifully strange, strangely beautiful slices of mid-90s indie pop. Paying tribute to Jeff Buckley on 'Rilkean Heart', it's a true document of the time and sounds like the era packaged up on an album, now remastered and reissued via Proper.

Review: It was in Glasgow in 1982 that Lloyd Cole found himself studying Philosophy and English at University. The Buxon born man used his spare time to form a band with The Commotions aka Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine and then wrote this magic pop record which had a distinctly arty twist and ensured Cole's intellectual reputation. It is rather haunting in atmosphere with crisp soft proto-indie rock sounds, shadowy synths and chilly hooks throughout. This timely reissue reminds what an overlooked mini classic it is and what an under represented talent Cole proved to be.

Review: English art and indie rockers Everything Everything made quite the impact with their debut album in 2010. The record went on to peak at number 17 in the UK album charts but announced them as masters of a number of different styles with math rock, r&b, hip-hop, electronica, baroque and choral music all drawn upon while singer Jonathan Higgs delivered his complex verses in a rhythmic, falsetto style. The album is repressed here as it was back then - though a deluxe version is also available on these pages - and reminds us just how good the band was at crafting intricate tunes.

Review: Fairport Convention eventually went on to become folk legends after a very quick rise through the ranks over the course of four full-lengths in just a couple of years. Revered names from British and world music played their part as the school friends set out on their mission to become 'the British Jefferson Airplane'. Unhalfbricking from 1969 is the sound of a band growing in confidence, despite the fact that Ian Matthews left the group during the writing of it. There are three Bob Dylan covers including the Top 30 UK hit single, 'Si Ti Dois Partir,' with plenty of other traditional folk songs and an 11-minute ballad.

Review: Universally acclaimed British folk pioneers Fairport Convention had a remarkable rise to the top of a series of superb albums that came in quick succession. This, their fourth album, came in 1969 after the band was involved in a fatal car accident in which their drummer Martin Lamble was killed. Liege And Lief now gets reissued as it was back then and with its five traditional tracks sitting next to three originals in a folk style. It is the template they followed for many years after and the one that made them such a widely regarded band. The epic 'Matty Groves' is one of the band's most long-lasting anthems.

Review: By the time Shift-Work came along, The Fall had put out 13 studio albums and been going for 15 years. Apparently ready to switch things up, Mark E Smith sacked guitarist Martin Bramah and keyboardist Marcia Schofield after the Australian leg of the tour for Extricate, cutting the lineup to four, for the first time in the band's history. Then he set to work finishing a record that had been started while on the road. Few would fail to pick up on the difference between here and before. While there's still plenty of those mesmerising, experimental, punk-not-punk goth moments, Shift-Work also embraces more pop sensibilities and seems to take more time to pay respect to rock & roll, or a gritty interpretation of it. Meanwhile, tracks like 'Edinburgh Man' and 'A Lot of Wind' feel introspective than ever.

Review: House Of Love's classic album Babe Rainbow gets a full reissue that wholly replicates the original version from 1992 on Fontana. The band initially formed in 1986 in South London and features vocalist Guy Chadwick, lead guitarist Terry Bickers, bassist Chris Groothuizen and drummer Pete Evans. Early on they were inspired by The Jesus And Mary Chain and soon found critical acclaim and commercial success with their self-titled debut becoming an instant indie-disco hit. Babe Rainbow came after lots of heavy touring and promotion saw Bickers leave the group to form Levitation and be replaced by Simon Walker. It features notable singles such as 'The Girl With The Loneliest Eyes' and live favourite 'Crush Me.'

Review: By 1997 Photek had already marked himself out as a wild card in the rapidly evolving d&b scene. He'd had three years to carve out some frankly dizzying displays of break editing wizardry and such was the innovation on display there just had to be an album coming. Modus Operandi smartly stepped to one side of the dancefloor, offering a smoky reflection on where jungle and d&b had got to, highlighting the compatibility between half-speed downtempo and breakneck drums and bringing inherent jazziness to the forefront of the beats, which avoided all the usual cliches. It's a masterpiece which hasn't dulled with time and here it's getting a heavyweight reissue across three slabs to ensure the loudest cut. All the better to blow your mind with, all over again.

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


By 1997 Photek had already marked himself out as a wild card in the rapidly evolving d&b scene. He'd had three years to carve out some frankly dizzying displays of break editing wizardry and such was the innovation on display there just had to be an album coming. Modus Operandi smartly stepped to one side of the dancefloor, offering a smoky reflection on where jungle and d&b had got to, highlighting the compatibility between half-speed downtempo and breakneck drums and bringing inherent jazziness to the forefront of the beats, which avoided all the usual cliches. It's a masterpiece which hasn't dulled with time and here it's getting a heavyweight reissue across three slabs to ensure the loudest cut. All the better to blow your mind with, all over again.

Review: Photek's masterpiece for the new millennium Solaris catches a repress on Proper recordings. From propulsive, metro-setting opener 'Terminus' to the elegiac, trouble-in-paradise closing synth meditation 'Under The Palms ', Rupert Parkes casually shakes off all expectation with a flurry of infectious head boppers channeling everything from the fragmentary half-step of the nascent broken beat stylie- read: 'Juno' (sic), to the snarling Valve-era techstep of Dillinja and Lemon D on 'Infinity' via Larry Heard's late 90s deep lounge leanings on the peerless 'Mine To Give' (note the similarity in artwork with Heard's Genesis). Solaris is very much a product of its time, the highest praise possible given the early 00s was one of the most amoebic and fluid periods in UK dance music history. It speaks to the undying british dancefloor tendency to allide tempo and atmosphere, casually felling boundaries in genre to create something as reverential as it is innovative. Classiq.

Review: Originally released in 1979, The Crack is an album that should require little to no introduction for any punk aficionado worth their salt. The debut LP from homegrown heroes The Ruts still serves as a cornerstone genre gem, sporting the classic hit, 'Babylon's Burning', while the "white reggae" of, 'Jah War', has only seasoned with natural finesse and its anti-Metropolitan messaging retains major relevancy more than four decades on. The only true full-length from the band during their tenure with original vocalist, Malcolm Owen; the work has gone on to become a much-adored entry into the seminal, formative years of the punk scene. Even mega-fan and friend of the band, Henry Rollins, embarked on a long, arduous journey to track down the original iconic painting which adorns the cover. Now that's commitment.

Review: The Wedding Present's Watusi, often overshadowed by its predecessors, emerges as a hidden gem in their discography. Initially released amidst the frenzy of their Hit Parade singles, it suffered from being ahead of its time"a blend of pop hooks and Seattle underground influences that defied easy categorisation". Yet, as fans who witnessed them revisiting it at their Brighton event recently will atest, 'Watusi' feels remarkably contemporary, its hypnotic melodies and nuanced instrumentation resonating with a neo-drone edge. While it may have been a hard sell in its era, the current lineup breathes new life into its subtle intelligence, unveiling its true brilliance. Overlooked but not forgotten, Watusi finally gets its due recognition as a key release from The Wedding Present, reaffirming its place in their storied career alongside Sea Monsters, George Best and the Hit Parade singles.