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He also has a talent for conveying the fears and horrors of the decaying inner city, whether it's on the charging 'Welcome to the Jungle,' the heroin ode 'Mr. Brownstone,' or 'Paradise City,' which simply wants out. But as good as Rose's lyrics and screeching vocals are, they wouldn't be nearly as effective without the twin-guitar interplay of Slash and Izzy Stradlin, who spit out riffs and solos better than any band since the Rolling Stones, and that's what makes 'Appetite for Destruction' the best metal record of the late '80s.\u003c\/p\u003e\n","brand":"Guns N' Roses","offers":[{"title":"Default Title","offer_id":44504235180317,"sku":"4241481","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/GNR_AFD.png?v=1762907465"},{"product_id":"live-through-this-vinyl-lp","title":"Live Through This: Vinyl LP","description":"\u003cp\u003eLive Through This was originally released by DGC Records on April 12, 1994. It was Hole's only album to feature bassist Kristen Pfaff before her passing in June 1994. Recorded in October 1993, the album marked a divergence from the band's unpolished hardcore aesthetics to more refined melodies and song structure, and features production by Sean Slade and Paul Q. Kolderie, with mixing by Scott Litt and J Mascis. The album's lyrics and packaging reflect Love's preoccupation with beauty, and its songs contain repeated motifs of milk, motherhood, anti-elitism, and violence against women. The album's title is derived from a quote in Gone with the Wind.\u003c\/p\u003e\n\n\u003cp\u003eThe album met near-unanimous critical acclaim upon release, earning top-100 chart spots in seven countries and going multi-platinum. 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The group began in 1983 as a loose collective of singers, rappers, djs, and producers that stages parties under the name the Wild Bunch. The core trio of Daddy-G, Mushroom and 3-D were joined on Blue Lines by soul diva Shara Nelson, reggae singer Horace Andy and a young Tricky. Together they fashioned a strikingly modern urban soundtrack that added an emotional intensity to the sparseness and studied cool of hip-hop, with Nelson's impassioned vocals on Unfinished Sympathy helping to create one of the songs that defined the 90s. 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We treat each of them as a bare room to be built up with infinite possibilities.\"\u003c\/p\u003e\n\n","brand":"Rolling Blackouts Coastal Fever","offers":[{"title":"Default Title","offer_id":44504249434397,"sku":"SP1499X","price":21.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/SharedImage-130883.png?v=1748043521"},{"product_id":"heavy-heavy-indies-exclusive-red-vinyl-lp","title":"Heavy Heavy: Indies Exclusive Red Vinyl LP","description":"\u003cp\u003eMercury Prize winning Edinburgh trio Young Fathers are back following 2018’s standout \u003cem\u003eCocoa Sugar\u003c\/em\u003e. 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With sales in excess of 20 million copies, Legend is rightly described by Q as \"The definitive hits collection, reggae's all-time best seller”, as well as being the second longest-charting album in Billboard magazine (just behind Pink Floyd’s Dark Side Of The Moon), serving as a perfect introduction to Bob Marley’s career.","brand":"Bob Marley","offers":[{"title":"Default Title","offer_id":44504252350749,"sku":"53030523","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/Bob_Marley_Legend.png?v=1778664486"},{"product_id":"in-utero-vinyl-lp","title":"In Utero: Vinyl LP","description":"\u003cp\u003e\u003cstrong\u003eOriginal Release: 1993\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eHaving successfully brought grunge to the mainstream with 1991’s airwave dominating Nevermind, and its lead anthem, ‘Smells Like Teen Spirit’, Nirvana felt they needed to claw back some much needed punk rock credibility for 1993’s In Utero. 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Wildly different voices from wildly different cultures side by side but all still sounding unmistakably Go! Team.  Setting the course for a kaleidoscopic, cable access, channel hop. \u003c\/p\u003e\n\n\u003cp\u003eOn the vocal roll call there’s Star Feminine Band, an all-girl group from West Africa, the Indian Bollywood playback singer Neha Hatwar, Kokubo Chisato from J-Pop indie band Lucie Too, 19 year-old Detroit rapper IndigoYaj, Hilarie Bratset (ex-Apples in Stereo), Brooklyn rapper Nitty Scott, and a whole host of others, alongside Go! Team staple Ninja. \u003c\/p\u003e\n\n\u003cp\u003e“Maybe it's an anti-Brexit reflex,” says Parton. “A rejection of flag-waving and inward-facing.  But this is no Coke ad, some Valium vision of joining hands on a hillside. The Go! Team has always been about knowing what’s happening but focusing on the good shit.  It’s about where you let your attention settle”. \u003c\/p\u003e\n\n\u003cp\u003ePicking up from 2021’s “Get Up Sequences Part One”, Part Two continues the feeling of Technicolour overload. “A feeling that there is so much good shit out there that you are grabbing it all at the same time. The record is saying: “Look at this. Look at this”. When you listen to it I just want the saturation of the world to be turned up”.  Simultaneously messy and tight, chaotic and coherent both albums have an obsession with the power of a bassline and a backbeat. \"For me each successive Go! Team record just gets fucking groovier and for me grooviness is life”, Parton says. \u003c\/p\u003e\n\n\u003cp\u003eIt’s a journey spanning Cyclone Tracey wig-outs, chroma key sitar psychedelia, Casiotone anthems, spoken word melodrama and kalimba callouts.  Brill building melodies lead into musical handbrake turns, four track into panoramic.    \nEighteen years after their debut LP The Go! 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It inhabits an edgier world.” Electricity was produced by the Grammy Award and Mercury Prize nominated British synthpop group Hot Chip, a collaboration born out of mutual admiration watching each other on festival stages, as well as a shared love of Francis Bebey and Giorgio Moroder. The fruits of their labor reveal a gleaming, supercharged, Afrofuturist blinder. Electricity is the first album Ibibio Sound Machine have made with external producers since the group’s formation in London in 2013 by Williams and saxophonist Max Grunhard. True, 2017’s Uyai featured mixdown guests including Dan Leavers, aka Danalogue, the keyboard jedi in future-jazz trio The Comet Is Coming, but Hot Chip and Ibibio Sound Machine worked together more deeply throughout the process, collaborating fully. Along the way, the team conjured a kaleidoscope of delights that include resonances of Jonzun Crew, Grace Jones, William Onyeabor, Tom Tom Club, Kae Tempest, Keith LeBlanc, The J.B.’s, Jon Hassell’s “Fourth World,” and Bootsy Collins. The hook of opener “Protection From Evil” has Williams wielding a massive synth line from Hot Chip’s Al Doyle like a spiritual shield against unspecified, malign forces unspecified because Williams is speaking in tongues. Her lyrics are onomatopoeic: their meaning is defined in her energetic delivery. As Electricity takes off, so do Williams’ words towards a brighter future, alternating between English and Ibibio, sometimes within verses, and propelled by Joseph Amoako’s unabating afrobeat. She digs into this sentiment further on single “All That You Want,” coolly assuring her romantic interest while also requesting reciprocity. Meanwhile, Scott Baylis’ playful Juno synth guides the listener’s feet along the dancefloor. Electricity is a deep and seamless realization of Williams’ and Grunhard’s ambitious founding manifesto to combine the singularly rhythmic character of the Ibibio language which Williams spoke growing up in Nigeria with a range of traditional West African music and more modern electronic sounds. While the band enjoys veering further into electronic territory with the help of mutuals like Hot Chip, Grunhard emphasizes, “For us, it’s not just a matter of embracing new technology. What’s key is to keep the music grounded in African roots.” Ibibio Sound Machine best exemplify this on Electricity’s “Freedom.” That track was inspired by the water-drumming rhythms of Cameroon’s Baka women, which in turn fueled its lyrics, which in turn prompted Hot Chip and Ibibio Sound Machine to layer joyfully kinetic electronic counterparts on top in the studio. As the track culminates with the mantra of “rage, hope, cope, soul,” it’s clear that Ibibio Sound Machine have channeled, harnessed, and distilled these words as guiding principles, both for the album and for the turbulent world that awaits it.\u003c\/p\u003e ","brand":"Ibibio Sound Machine","offers":[{"title":"Default Title","offer_id":44504254644509,"sku":"MRG765LP","price":21.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/SharedImage-137867.jpg?v=1748042631"},{"product_id":"through-the-looking-glass-vinyl-lp","title":"Through The Looking Glass: Vinyl LP","description":"\u003cp\u003eYou could argue that after seven studio albums a covers album might seem a somewhat step back creatively, not so with Through The Looking Glass – The songs carefully chosen to reflect the individuals own childhood and teenage years, these had to ring true for Sioux to sing them and to believe in them. Remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin. The Banshees cover songs such as Sparks’ ‘This Town Ain’t Big Enough For Both Of Us’, Roxy Music’s ‘Sea Breezes’ and The Doors ‘You’re Lost Little Girl’ their infinite capacity to surprise making each one their own.\u003c\/p\u003e","brand":"Siouxsie And The Banshees","offers":[{"title":"Default Title","offer_id":44504255398173,"sku":"SATBLP10","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/SharedImage-82637.jpg?v=1762958945"},{"product_id":"anywhere-but-here-black-vinyl-lp","title":"Anywhere But Here: Black Vinyl LP","description":"\u003cp\u003eLondon once again features as a prominent character on Sorry’s second studio album, Anywhere But Here. ’If our first version of London in 925 was innocent and fresh-faced, then this is rougher around the edges. It's a much more haggard place,’ Louis says. Earwigged conversations, text messages, snatched speech recorded underground; the city’s discarded words fed into the lyrics which map the experience of urban life on a young and frustrated generation. Produced alongside Portishead’s Adrian Utley in Bristol, the result is an angular, acerbic, bittersweet triumph.\u003c\/p\u003e","brand":"Sorry","offers":[{"title":"Default Title","offer_id":44504257855773,"sku":"WIGLP493","price":21.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/SharedImage-137734.jpg?v=1746482658"},{"product_id":"apocalypse-love-black-vinyl-lp","title":"Apocalypse Love: Black Vinyl LP","description":"\u003cp\u003e\u003cb\u003eClassic Black vinyl, Lyric insert + DL card.\u003c\/b\u003e\u003c\/p\u003e\n\n\u003cp\u003eThe Black Lips return with their 10th studio effort ‘Apocalypse Love’, scorched with their trademark menace, it cryogenically mutates all recognised musical bases; it spins yarns about vintage Soviet synths, Benzedrine stupors, coup de’ tats, stolen valor and certified destruction, all set against a black setting sun. \n\n\u003c\/p\u003e\u003cp\u003eSince the turn of the decade the band have transformed from austere country pioneers, into a set of Lynchian surrealists, hellbent on recalibrating the history of rock ‘n’ roll. Singer and saxophonist Zumi Rosow muses, “It’s a weird dance record, one that reflects the moment that the world’s in right now…” ‘Apocalypse Love’ is an album that emanates from a dive bar jukebox in the back of your mind; with a playlist that bends between tub thumping doom-glam, Plastic Ono singalongs, cocktail-shaken space age pop, Morricone reverberations and lo-fi outsider acoustic-punk, with mariachi horns, theremins, drum machines and harmonies filtering through the infectious melodies. Stand-out number ‘Among The Dunes’ is an amorphous platform-heeled anthem, a signature sax-fuelled stomper filled with trippy swagger. While opener ‘No Rave’ proffers a hypnotic locked groove, with Cole Alexander’s trademark snarl delivered over a sulphurous wall of distorted hedonism, a dystopian anthem for an apocalyptic manifesto. Meanwhile, the twisted exotica of ‘Whips Of Holly’ with its silver screen façade is like the soundtrack to a classic Theda Bara vamp-fest. 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It’s a record that explores juxtaposition; that of life and death, acceptance and isolation, environment and humanity, hope and despair, the real world and the digital world. That top to bottom rigour, the complete vision is what makes the second album from Working Men’s Club such a stunning and unique achievement.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eTheir critically acclaimed self-titled debut album, released in summer 2020, was the sound of singer and songwriter Syd Minsky-Sargeant processing a teenage life in Todmorden in the Upper Calder Valley. He was 16 when he wrote some of those songs, now 20, he had to get up and out of the Valley. “The first album was mostly a personal documentation lyrically, this is a blur between personal and a third-person perspective of what was going on.” Fear Fear documents the last two years. Yes, there is bleakness – but there is also hope and empathy. “I like the contrast of it being happy, uplifting music and really dark lyrics. It’s not a minimal record, certainly compared to the first one. That’s because there’s been a lot more going on that needed to be said.”\u003c\/p\u003e\n\n\u003cp\u003eMaking the busy feel finessed and the dreadful feel magical – Fear Fear manages those feats, and then some. 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Written and recorded over the last two years – both in and out of lockdown – these songs mark a shift toward something louder, wilder, and more full-colour.\u003c\/p\u003e\n \n\u003cp\u003eFrom the detuned guitars anchoring “The Hardest Cut,” to the urgency of “Wild,\" to the band’s blown-out cover of the Smog classic “Held,” Lucifer on the Sofa bottles the physical thrill of a band tearing up a packed room. It’s an album of intensity and intimacy, where the music’s harshest edges feel as vivid as the directions quietly murmured into the mic on the first-take. 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Eventually the mixes got there and Everything Was Beautiful was achieved.  \n\nThe result is some of the most “live” sounding recordings that Spiritualized have released since the Live At The Albert Hall record of 1998, around the time of Ladies \u0026amp; Gentlemen, We Are Floating In Space.\n","brand":"Spiritualized","offers":[{"title":"Default Title","offer_id":44504274764061,"sku":"BELLA1270V","price":23.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/image_of_BELLA1270V.png?v=1759761366"},{"product_id":"strange-dance-limited-ecomix-vinyl-lp","title":"Strange Dance: Limited EcoMix Vinyl LP","description":"\u003cp\u003eWhen Philip Selway approached some of his favourite musicians to play on his third solo record he said he imagined it as a Carole King record if she collaborated with the pioneering electronic composer Daphne Oram and invited him to drum on it. 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That’s what ties them together.”\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eAfter two blockbuster albums – Wanted On Voyage (2014) and Staying At Tamara’s (2018), both of which reached number 1 in the UK and sold millions around the world, and the latter of which earned him his first number 1 single in ‘Shotgun’ and won him the 2019 Brit Award for British Male Solo Artist – it was time to return to heart and hearth, with an album written and produced entirely in London with longstanding collaborator Joel Pott.\u003c\/p\u003e\n","brand":"George Ezra","offers":[{"title":"Default Title","offer_id":44504292884765,"sku":"19439984121","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/SharedImage-130788.jpg?v=1748043185"},{"product_id":"life-is-yours-vinyl-lp","title":"Life Is Yours: Vinyl LP","description":"\u003cp\u003eFoals take a fresh, thrilling new direction on with their upcoming album ‘Life Is Yours’, which will be released on June 17th via Warner Records. ‘Life Is Yours’ is the follow-up to the triumphant, two-part ‘Everything Not Saved Will Be Lost’, which proved to be a pivotal pinnacle in the band’s story. Not only did it result in the band’s first ever UK #1 album, but the ambitious scale of the Mercury-nominated album saw Foals win their first BRIT Award for Best Group.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e‘Life Is Yours’ feels like a natural evolution for Foals, its disco-tinged guitars, tight syncopated rhythms and punchy, insistent hooks echoing their roots as purveyors of rambunctious house party chaos. Thematically, it’s escapist, transportive and in rapture at life’s endless possibilities. It’s a record that’s perfectly in tune with the prevailing atmosphere of this moment in time – a life-affirming celebration as the world is reunited.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003e‘Life Is Yours’ immediately establishes its tone with the bright beam of optimism provided by its title track, its ambience and exuberance showing no sign of slowing down as it is followed by the two recent singles. There’s a unity to the sound, whether Foals are bouncing into the Balearic beats of ‘Looking High’, experimenting with West African guitar grooves on ‘Flutter’, or simply savouring the prospect of playing live together again within the dance dynamics of ‘The Sound’. It’s also a consistently transportive experience, at times conjuring images of the Pacific Northwest or St. Lucia, at others directly set in the peppy nostalgia of the recent past. It all comes full circle with ‘Wild Green’, which simultaneously celebrates the rebirth of summer with an existential tinge that all beautiful moments are inevitably fleeting.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eYannis Philippakis says, “I feel that with ‘Everything Not Saved…’ we touched upon all of the facets of our sound up until that point. This time we wanted to find a new way to express ourselves. We wanted to refocus and do something that shared a DNA throughout the songs: a physicality, a danceability, and with energy and joyousness. It’s definitely the poppiest record we’ve ever made.”\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eFoals – completed by Jimmy Smith and Jack Bevan – started the project within the dark, windowless confines of their south London rehearsal space in the midst of the winter lockdown. Feeling contained and tethered, they were drawn towards spirited sounds that looked to a brighter future, not only in terms of climate but also in terms of the unreplicable thrill of performing live. 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Much of the album was subsequently mixed by ten-time Grammy Award winner Manny Marroquin (Post Malone, Kanye West, Rihanna), with several tracks mixed by another multiple Grammy Award winner in the shape of Mark ‘Spike’ Stent (Coldplay, Muse, Kings of Leon).\u003c\/p\u003e\n","brand":"Foals","offers":[{"title":"Default Title","offer_id":44504301601053,"sku":"190296403828","price":22.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/SharedImage-131932.png?v=1748041809"},{"product_id":"alive-1997-vinyl-lp","title":"Alive 1997: Vinyl LP","description":"\u003cp\u003e\nAlive 1997 is reissued separately. 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They won Album of the Year at the Q Awards along with many end of year list placements, toured relentlessly, played a life-changing set at Coachella, and then… they disappeared. Two Ribbons tells the story of the last three years from both Jenny and Rosa’s points of view. As a body of work, it is astonishing: a dazzling, heart-breaking, life-affirming and mortality-facing record that reveals their growing artistry and ability to parse intense feeling into lyrics so memorable you’d scribble them on your backpack. The band has been through a lot in the last three years, and Two Ribbons is the artefact that signals some kind of progression out of distressing times; a story of loss, change, and of survival; a proof of life. Such was the intensity of Jenny and Rosa’s bond that when they promoted their first album, they positioned themselves as twins. Friends since early childhood, they had graduated into a teenage friendship that was unbreakable and practically telepathic. Those intense and all-consuming friendships are subject to the same ebbs and flows as any other, and as they grew older the two began to find themselves as individuals, tastes differing here, reactions jarring there. There was a time when both felt a little trapped, and needed to fight to create the space to express themselves as individuals within their relationship. And so the partnership began to fray. Two Ribbons can be heard as a series of letters between the two of them, taking the place of conversations as they try to make sense of the rift in their relationships. It’s a cathartic blood-letting and a devastating realisation about the fickleness of life. Though it is still very much a Let’s Eat Grandma album, for the first time there are Rosa’s songs and Jenny’s songs. Both Rosa and Jenny found themselves more involved in the production of this album, experimenting with new sounds and diverse instrumentations within the studio, collaborating with David Wrench, also the primary producer of I’m All Ears. On this record Rosa in particular threw herself into the behind the scenes work and driving her own sonic agenda, whilst Jenny sought to synthesise new influences to forge new spaces artistically for the group. The backdrop to Two Ribbons is two women navigating their way through a lot, for the first time without the tiller of each other to guide them. The songs they wrote and eventually brought to each other are little pockets of light in the darkness, signals in the night to show each other how they were feeling and what they had lost. Two Ribbons is an album that treads a fine line expressing the most intimate feelings of, whilst making space for, the different perspectives of two women; an album that says this is not the beginning or the end but part of a never-ending circle. 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On Kid A, Thom Yorke's passionate wailing is put through the aural wringer, and the band's previous nimbly orchestrated full-frontal sonic assault is replaced by full-frontal electric piano, to iconoclastic effect.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eThe ambient underpinnings and garbled vocals of Everything in its Right Place, and the instrumental Treefingers, the electronic beats of Idioteque, and Yorke's processed voice on the title track will come as quite a shock to diehard '70s rockers who spent the late '90s deifying Radiohead as heirs to the Pink Floyd throne. But these touches work brilliantly, while the more organic elements, such as the jazzy horn section on The National Anthem, and the comparatively conservative arrangement (though there's some unsettlingly atonal orchestration lurking here, too) of How to Disappear Completely provide a counterpoint to all this incipient modernism.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n","brand":"Radiohead","offers":[{"title":"Default Title","offer_id":44504340005149,"sku":"XLLP782B","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0685\/4842\/8061\/files\/SharedImage-147813.jpg?v=1759786985"},{"product_id":"amnesiac-vinyl-lp","title":"Amnesiac: Vinyl LP","description":"\u003cp\u003e\nThis second helping from the sessions that produced the preceding Kid A will probably strike close listeners as a bit more structured, though it'll be difficult to determine whether that's simply because the peregrinations of the last album have prepared them for the trips to the outer limits taken here. Those expecting a U2-like return to tuneful, anthemic guitar-rock will have their hopes dashed upon a rock of colourful electronic experimentation and moody, studio-enhanced madness. The piano-based Pyramid Song and the martian-gospel-choir ballad You and Whose Army? might placate verse-chorus-verse traditionalists slightly, but the sampler-in-a-trash-compactor Pulk \/ Pull Revolving Doors and the pointillistic ambience of Hunting Bears attest to Radiohead's continued nonconformist tendencies. 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The result is one the most diverse, hands-on and thrilling entries in the bands catalogue, self-produced and recorded (with contributions from Brian McNeill, Matt Wiggins, Kevin Burleigh and Shawn Everett). ‘Young And Stupid’ is a stuttering folk rock earworm that faces the passage of time with wry ennui, ‘Come On Home’ with its warm fireside piano evokes a handing over of the generational baton, while the deceptively feelgood, choir-backed ‘If They’re Shooting At You’ reads like a poignant ode to defiance and survival.\u003c\/p\u003e\n\n\u003cp\u003e \u003c\/p\u003e\n\n\u003cp\u003eA Bit of Previous is also scattered with big, occasionally delirious pop moments. ‘Unnecessary Drama’ rips through a cacophony of overdriven riffs and a droning harmonica that borders on the unhinged and is one of the band’s heaviest outings since, well, ever. 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