Rave Tapes is the eighth studio album by Mogwai. With Rave Tapes, Mogwai's mastery of sound and space is firmly at its apex. The album is a lustrous collection mined from the same quarry as its predecessors, wreathed in painterly textures underpinned by increasingly electronic beats. Mogwai wrote and recorded Rave Tapes at the band's Castle Of Doom studio in Glasgow, Scotland, with Paul Savage, who also worked on their 2011 album, Hardcore Will Never Die, But You Will. Japanese edition includes two bonus tracks.

Deluxe Edition 2 CD set features 35 tracks including b-sides and previously unreleased versions. Sonic Youth's second major-label album, produced and mixed by Butch Vig and Andy Wallace (a team that had helped turn Nirvana's NEVERMIND multi-platinum) was not the barefaced bid for mainstream acceptance that surly underground souls grumbled about in the pages of fanzines. While Vig and Wallace give guitarists Thurston Moore and Lee Ranaldo, bassist Kim Gordon, and phenomenal drummer Steve Shelley a wide-screen panorama for their bizarrely-tuned assaults, DIRTY is probably Sonic Youth's most uncompromising album since 1985's BAD MOON RISING–particularly in the lyrical department. Dropping the deliberate obscurantism, Philip K. Dick references, and smart-alecky snottiness, Sonic Youth brackets a slew of pointed political attacks ("Youth Against Fascism," "Swimsuit Issue," and the Jesse Helms-bashing "Chapel Hill") with two passionate tributes to the band members' murdered friend, Joe Cole ("100%" and "JC"). That DIRTY is Sonic Youth's most commercial-sounding album makes it that much more subversive.

It would have been easy to write off the Banshees after the so-so Superstition, especially given the fact that it came after two uneven and disappointing albums (including the unnecessary covers collection Through the Looking Glass) Frankly, one of punk's most consistently invigorating acts seemed to have run their course. Sure enough, The Rapture proved to be their final recording. The surprise is that it's a career highpoint. The band deny, incidentally, that they knew this was to be their last album. Quite how Siouxsie, Severin and Budgie rediscovered their chemistry is a moot point - some credited producer John Cale, who worked on four tracks - but rediscover it they did. Despite nods to the band's past in the savage "Not Forgotten," the real gems are the sunny-side-up "O, Baby" (when did Siouxsie ever sound so genuinely happy?) and an 11-minute title-track that is as dazzling as anything they have ever performed. A classic case of leaving the scene on a high note, and a fitting final chapter from one of punk's finest, and most dignified, bands.

Superstition is a similar album to that of Peepshow, this time with more precise production and a lighter feeling to many of the songs. While Siouxsie and the Banshees albums like Tinderbox and Juju were dark affairs, Superstition's sound is representative of the pink of the album cover. A softer pop sound, mixed with the Banshees' penchant for minor keys and strange imagery. They manage to pull it off quite well on most tracks. "Fear (Of the Unknown)" and "Drifter" are classic Siouxsie stuff, and "Kiss Them for Me" gave them their first significant entry into the U.S. singles charts. But it's tracks like "Silly Thing" that hold this album back. This track manages to do what the Banshees had avoided all their career – sounding like someone else. One of their most accessible albums, Superstition has appeal without losing its edge.

Alone with Everybody is the first solo album by English singer-songwriter Richard Ashcroft, released in June 2000. The songs "A Song for the Lovers", "C'mon People (We're Making It Now)" and "New York" were initially recorded with the Verve for their 1997 album Urban Hymns, but were never released. The two bonus tracks feature on the Japanese version of the album.

2024 collection. 'Tomorrow's Here Today' celebrates 35 years of The Lightning Seeds.

As the Rosemary Hill EP begins, Sixpence None the Richer's first release since 2012, Leigh Nash sings, "In the eye of the storm, I'm gonna thread the needle." Now three decades after Nash met her musical partner Matt Slocum in New Braunfels, Texas, Sixpence is threading the needle in the sweet spot they have often longed for throughout a stormy yet momentous career. Slocum confesses that two of the six new songs are an attempt to immortalize their hometown: "New Braunfels was an amazing place to grow up… We could roam freely in the streets, from sunup to sundown." Nash adds, "Meeting Matt is the most important thing that happened for me in New Braunfels." That rings true for all of us; New Braunfels, Texas is the birthplace of Sixpence None the Richer, a great American rock 'n' roll band. While Sixpence has been Nashville-based for most of their career, Rosemary Hill reveals they are at heart a Texas band. The title track cites the street Slocum grew up on, as Nash sings Slocum's words, "That was a long time ago - But the feelings, they don't get old.

Live set by former Velvet Underground member and the ringmaster of the avant-garde, Mr. John Cale. The album is virtually a career retrospective, recorded live on John's 2006 European tour. Cale felt like he'd finally found the personnel to interpret his songs with new twists, new dimensions and new emotions. None more so evident than the track 'Gun', originally appearing on 1974's Eno & Manzanera produced Fear but now sounding akin to a heavy arsenal of crunching weaponry. Inspired, Cale recorded the dates and the band began to tear up a 40 year musical history book, challenging and breathing new life into Cale's work.

The bounciness of the Pale Fountains went penalized in the days of Echo and the Bunnymen and the Smiths. “Optimism—yuck.” Michael Head’s stylistic hopscotch and wide-eyed sunnyness might have translated better in the late ’90s, had he stuck with that program for his later band, Shack. If the band had set their sights on one or two areas of their record collections for inspiration instead of darn near everything, Pacific Street might not have been so out of place when it was released.

A double CD tribute album contains tracks specially recorded by more than 30 contemporary acts from around the globe who have re-invented, re-interpreted and rebooted many of Talk Talk’s greatest moments precisely 30 years since ‘Talk Talk’ made its mark on the mainstream. Among the artists appearing on the CD are: Alan Wilder (Recoil), White Lies, King Creosote, Jason Lytle (Grandaddy), Zero 7, Linton Kwesi Johnson, Richard Reed Parry (Arcade Fire), Joan As Police Woman, Sean Carey (Bon Iver), Lights, Goldheart Assembly, Thomas White (Electric Soft Parade), Fyfe Dangerfield (Guillemots), Thomas Feiner, The Black Ships and Turin Brakes. Also contributing to the album are ex-Talk Talk collaborators Ian Curnow, David Rhodes, Gaynor Sadler and Martin Ditcham.

Coldplay return with their tenth album, Moon Music. Moon Music features June's double MTV VMA's-nominated feelslikeimfallinginlove as well as the band's latest hit We Pray ft Little Simz, Burna Boy, Elyanna and TINI.

With guitarist/keyboardist Roland Wolf and Cramps/Gun Club veteran Kid Congo Powers on guitar added to the ranks, along with guest appearances from old member Hugo Race, the Seeds reached 1988 with their strongest album yet, the insanely powerful, gripping Tender Prey. Rather than simply redoing what they'd already done, Nick Cave and company took their striking musical fusions to deeper and higher levels all around, with fantastic consequences. The album boldly starts out with an undisputed Cave masterpiece – "The Mercy Seat," a chilling self-portrait of a prisoner about to be executed that compares the electric chair with the throne of God. Queasy strings from a Gini Ball-led trio and Mick Harvey's spectral piano snake through a rising roar of electric sound – a common musical approach from many earlier Seeds songs, but never so gut-wrenching as here. Cave's own performance is the perfect icing on the cake, commanding and powerful, excellently capturing the blend of crazed fear and righteousness in the lyrics.

Peter Gabriel combines the theatricality of his time as the leader of Genesis in the early '70s with widely appealing sounds and songwriting, making him an international star with the credibility of a cult hero. With his eponymous debut solo album in 1977, he explored dark, cerebral territory, incorporating avant-garde, electronic, and worldbeat influences into his music. The record, as well as its two similarly titled successors, established Gabriel as a critically acclaimed solo artist, and with 1982's Security, he began to move into the mainstream; "Shock the Monkey" became his first Top 40 hit, paving the way for his breakthrough So in 1986. Accompanied by a series of groundbreaking videos and the number one single "Sledgehammer," So became a multi-platinum hit. Instead of capitalizing on his sudden success, Gabriel founded the Real World label, which proved an invaluable channel for international artists of every stripe to ply their trade.

Featuring three albums from Melvins' time at Atlantic Records. When the grunge sound of Nirvana, Soundgarden and Pearl Jam broke alternative rock into the mainstream at the start of the 1990s, there was a sudden rush by the major labels to sign a slew of previously underground bands with a similar sound. Although a lot of those musicians only saw their underdog status and relative geography in common - many of them came from in and around Seattle, Washington - it was enough to wipe away the hair metal and glam rock that had ruled the 1980s. Many bands from the Pacific North West, including Screaming Trees, Tad, Alice In Chains and Mudhoney, would benefit from this windfall of major label contracts, but one of the more surprising signings were The Melvins. Atlantic signed Melvins for their 5th album, 1993's 'Houdini' (CD1). Sporting a cover design by famed poster artist Frank Kozik, 'Houdini' was in part co-produced by Kurt Cobain, and their most commercially successful release was recorded mainly by Buzz Osborne and Dale Crover. A cover of KISS' 'Goin' Blind' shouldn't have surprised any of their long term fans, and the songs 'Hooch' and 'Lizzy' were issued as singles, with 'Honey Bucket' even receiving airplay on MTV.

Pioneering post-punk band, the Gang of Four were formed in the bricolage punk rock fallout culture of late seventies Leeds - a place where art was a mirror and guitars were machine guns. Gang of Four tore up the template and made sense of the question marks thrown up by year zero. They redesigned rock in the punk aftermath, taking the incendiary energy of the form and crisscrossing it with funk, stripping away the baggage of rock excess and creating a new stripped-down music that was full of agit energy, heavy grooves, shrapnel guitars and politically charged lyrics matching the fervour of the times.