Rough Trade 黑胶唱片和CD

Review: British Sea Power's Do You Like Rock Music? is a triumphant exploration of anthemic rock soundscapes. Released in 2008, the album captures the band's distinctive blend of indie rock, post-punk, and art-rock influences. The tracks unfold with a dynamic energy, featuring soaring guitar riffs, atmospheric arrangements, and emotionally charged lyrics. Standout songs like 'Waving Flags' showcase their ability to create powerful, stadium-worthy moments, while the album as a whole exemplifies British Sea Power's penchant for crafting a cohesive sonic journey. As such this record solidified the band's reputation for delivering ambitious and compelling musical narratives, and this deluxe version contains an additional ten tracks culled from radio sessions and B-sides.

Review: British Sea Power's Do You Like Rock Music? album was the third album from the Brighton-based experimental rock band and was originally released in 2008. It epitomises everything the band is best known for - big, widescreen epics, incendiary guitar riffs, atmosphere-packed arrangements and euphoric, stadium-sized climaxes to their sonic journeys. The 12-tracker sees the four piece's core sound augmented by a huge list of additional musicians adding everything from harmonium to choral trimmings to the mix and this deluxe anniversary edition comes with a bonus disc of ten tracks from radio sessions and B-sides to the single 'No Lucifer'.

Review: London-based duo Jockstrap have fully remixed their album I Love You Jennifer B from 2002. It was shortlisted for a Mercury Prize that year and was written by the band's Taylor Skye, who also had the idea for this remixed version while making different versions of the album's tracklisting. Several guests feature including Ersatz and Ian Starr and the inspiration for these new takes was texture and sound rather than the musical material itself. "It's an experiment! I'm still learning" says Syke of a wildly eclectic album that fuses club, noise, pop and indie into a thrilling contemporary record.

Review: Where will Griff Rhys take us next? Rising to a household name during his tenure at the front of the Super Furry Animals, since the indie pop soundtrack began to fade he has established himself as one of the UK's most transportive singer songwriters, building worlds through music. Sadness Sets Me Free is just the latest evidence of his greatness. Sliding in on a country-esque tip, talking about snorting coke in cloak rooms, lamenting pain and suffering, across this record he straddles lines between desperate and miserable, everyday commentary, twisted forms of joy, and, ultimately, the human condition. A skill few musicians have cracked, cementing Rhys' membership in the inner circle of timeless greats that can turn songs about mundanity into gloriously emotive epics.

Review: Scritti Politti's Early is an originally 2005 compilation collecting singles and EPs recorded in the earliest years of the Leeds band, way before the polished dub pop that defined them and brought multi million selling status to them arrived. Bringing together a series of their most formative recordings from the late 70s and early 80s, for an America-only vinyl release, this is an incendiary expose as to their earliest political and philosophical underpinnings, which rested on Marxist and anarchist grounds. Exemplary as a post-punk milestone, but making use of unorthodox musical techniques even for that umbrella genre, the compilation serves as a shining light for the very front of the experimental squat-music vanguard at the time.

Review: Rough Trade reissue Green Gartside's landmark 2006 album 'White Bread Black Beer'- a deeply personal, sparse document of the Scritti Politti singer's time spent recording in his Dalston house, after the band's apparent split. Gartside's production on the record is sparse, allowing his breathy, tender vocals to take centre stage. Highlights include the tender synthscape of 'No Fine Lines' and the 80s-Scritti-throwback upstroke of 'Petrococadollar', which calls to mind the lugubrious later synth works of 80s japanese heroes like Yukihiro Takahashi and Brian Wilson's sunny, unsettling pop masterpieces in equal measure. Like the title suggests, the album is a wholesome and nourishing listen, which chronicles Gartside's triumphant return to the public sphere with a formula successfully alluding to both Scritti Politti's earlier Marxist din and latter silken synth pop with ease and conviction.