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Neil Young and The Chrome Hearts, Second Song
Second Song is the second studio album Neil Young has made with The Chrome Hearts, and his third release overall after the live album As Time Explodes, released in April. The album brings together seven previously unreleased songs written by Young. Semi-acoustic in feel, it sits alongside earlier touchstones in his catalogue like Comes A Time and Prairie Wind, with a reflective, open-hearted sound that feels close, lived-in and deeply human. Across these songs, Young looks at the past, present and future from a fresh angle. The title track sets the tone: "Through smoking leaves of time the words just tumbled forward in this second song of mine..." It’s music that feels searching, steadying and full of shared feeling. Produced by Lou Adler and the Volume Dealers, Neil Young and Niko Bolas, with associate production from Anthony LoGerfo and Manny Adler.
The Fall, Peel Sessions 1978
Two classic John Peel sessions from the legendary Fall. This download and vinyl release compiles together the band's two John Peel sessions from 1978. Mastered by Andy Pearce and with art by Becky Stewart. This album collects the 8 earliest songs from that illustrious history, capturing Mark E Smith's band at their rawest and most irascible, from the breakneck-paced 'Industrial Estate' to the more driving Krautrock headnodder 'Rebellious Jukebox' and the careering, lurching 'Mess of My'.
Primal Scream, XTRMNTR
When Primal Scream's Exterminator – or Xtrmntr – came out in 2000 as the last album on Alan McGee's legendary Creation Records it made quite a stir. McGee must have told The Scream to let the label 'go out with a bang', and boy did they deliver. Newly mastered under the supervision of Bobby Gillespie and Andrew Innes by Matt Colton at Metropolis Studios, London, these comprehensive releases create the definitive document of Primal Scream's revolutionary sonic experiments recorded in their ‘bunker studio’ between the years of 1997-2002. Featuring the original track list alongside a curated selection of B-sides and rarities including 2 previously unreleased tracks, as well as liner notes by acclaimed author Darran Anderson. Evil Heat follows at the end of October, Vanishing Point is already out there. Pick of the bunch? This could be the one.
Mike D, Thank You
Mike D presents his debut album, Thank You, marking the first full-length offering of new music from a Beastie Boys alum since 2011. Tracing its origins back to a series of zero-pressure, experimental recording sessions at Mike’s home studio, the album features a dozen servings of sonically inventive post-electronic grooves and hypnotic hooks that find Mike D’s unmistakable voice leading the listener through an aural playground that defies categorization.
Bob Marley and The Wailers, Roots, Rock, Reggae: Live at the Hammersmith Odeon
Roots, Rock, Reggae: Live at the Hammersmith Oden is a stunning, previously unreleased live album from Bob Marley, recorded over several nights during the Wailers’ residency at London's prestigious Hammersmith Odeon in June 1976, during their Rastaman Vibration tour. Booking the venue was an audacious move, but Bob had newfound stardom from the U.K. chart success of “No Woman, No Cry,” and an ecstatic crowd packed the place. Highlights include a transcendent title song, a rarely performed “Bend Down Low,” an extended version of “Crazy Baldhead,” and a 30-minute encore that incorporates a 12-minute “Get Up, Stand Up.” New liner notes by Marley associate Don Letts bring an eyewitness account to the experience.
Archive long player of the week
ICEHOUSE Man of Colours
When Man Of Colours hit record stores in September 1987, it immediately hit the top of the charts for 11 weeks, went 7x platinum in Australia, and won two ARIA (Australian Recording Industry Association) Awards in 1988. Yes, on the world scale, that may not seem overly impressive for our international readers, but success like that for an Australian band, in their own backyard, is often unheard of. However, it didn’t come out of nowhere and was a slow buildup for the band as Icehouse had been an active member of the Australian Music scene since their debut release, Icehouse, under their original band name, Flowers, in 1980, and was a musical force never to be underestimated with Man Of Colours being their crowning achievement.
This era would, ultimately, be the band's most successful, with worldwide sales of Man Of Colours exceeding 795,000 units worldwide. To say they were also at their creative peak would be an apt assessment, but that statement also negates the masterstrokes of creativity throughout the band’s entire career. Still, it’s difficult to deny the album’s high production qualities, for Man Of Colours saw the band deviate slightly from the rawer new wave stylings of their earlier releases to a much more radio-friendly sound across the entire record. This sleek, synth-pop-focused rock style merged with a melodic overture that leaned strongly into the zeitgeist, ensuring that it was primed for success. In many respects, Man Of Colours was the right record at the right time, and while that doesn’t take away from the high-quality production and songwriting of this release, it does help with understanding why this album alone was such a standout success.
The record opens with the upbeat and infectious Crazy, which immediately sets the tone for the album with its catchy hooks, driving beat, and sing-along chorus. In a memorable and anthemic manner, Crazy is one of the greatest 80s pop love songs of all time. From there, the album moves to one of its most enduring hits in Electric Blue. A completely slick and polished commercial hit, Electric Blue is instantly recognizable.
This strong start to the album only continues moving into the propulsive dance-rock of Nothing Too Serious. The saxophone and horn section carry this song to incredible heights. The upbeat and almost reggae styled guitar riff in the verses demand you to bop your head and stomp your feet. The title track, Man Of Colours, is a lush, atmospheric ballad that showcases the band's melodic prowess and songwriting ability. It is gorgeous with its oboe accents, chimes and backing harmonies.
While some fans may view the record’s commercial success as a departure from the more artsy glam new wave sound the band has been knees deep in, it's hard to deny that Man Of Colours is a strong and musically diverse record that showcases the band's evolving sound and musical talent. The band's use of synths, guitars, and atmospheric and commercial pop production creates a rich sounding and timeless album.
A 40th anniversary reissue awaits.
Released 21 September 1987.
Produced by David Lord.
Label: Chrysalis.
Books + Media
Hello Boys and Girls!, Nicko McBrain
Hello Boys and Girls! is a thrilling, hilarious and deeply personal autobiography from the unstoppable drummer behind Iron Maiden. With trademark humour and heart, Nicko takes readers behind the scenes of one of Britain's biggest ever bands.
Nicko joined the band in 1982 after stints with artists like Streetwalker, Pat Travers and Trust. He honed his craft from decades of session work among the highly competitive mean streets and studios of London's Soho. Through his powerful, precise drumming and charismatic stage presence, the long-serving drummer became a metal icon, pivotal in shaping Iron Maiden's dynamic sound.
This is the story of what it feels like to remain not just relevant but more loved than ever after decades at the top, and to live a life transformed by music, brotherhood and belief. Packed with unforgettable moments, backstage stories, laugh-out-loud anecdotes and raw honesty, Hello Boys and Girls! is more than a rock memoir; it’s a front-row seat to one of heavy metal’s greatest lives.
Expected end-October 2026.
Prince: Black, White, Colour, Steve Parke
Prince: Black, White, Color reveals the artist as he’s never been seen before thanks to a unique and exclusive set of photographs, many published here for the first time, all captured by Prince’s own trusted art director – award-winning photographer Steve Parke.
These intimate photos allow readers an extremely rare glimpse of Prince at Paisley Park, at his sun-drenched house in Marbella, and at work in the studio, posing for portraits as well as moments of quiet tenderness with his first wife Mayte Garcia and their beloved dog Mia.
With over 250 images, this stunning volume marks the 10th anniversary of Prince’s passing by showing a side of him that was seldom if ever publicised during his lifetime.
Available in single and two volume editions
Expected mid-October 2026.
Doc, Oasis Don't Look Back In Anger
"Hello … hello … It’s good to be back.” With these words this highly enjoyable fan-worship documentary revives the memory of last year’s staggering and already mythic Oasis reunion tour. It also recollects how effortlessly funny the Gallagher brothers are, like a great comic double act. There’s a big laugh in the tense scene in the rehearsal room, when Liam finally shows up after Noel and everyone else had been there for hours – and the very first thing that comes out of his mouth is a fierce and magnificently sullen objection to the baffles on the drum kit: “They’re giving me the hump.”
Yet to the surprise of many who did not believe, and these biblical echoes are strangely appropriate, Liam and Noel did not fall out; the resulting stadium tour put a fresh coat of paint on the word “phenomenon”. Middle-aged and indeed elderly people in bucket hats, together with young people in bucket hats, some accompanied by their pets in bucket hats, sang their hearts out as if it was the 90s again and Manchester City had just won the FA Cup 10-0.
We see again the Oasis congregation engaging in colossal Dionysian events of mass joy – but of course, the poignancy of time passing and the irresistible narrative of the brothers’ public reconciliation give a new layer of emotion to the songs. Noel now looks like the silver-fox dad of the band; Liam, with what looks like a ridge or a scar on his nose that I don’t remember from before, looks more than ever like a bloke whose pint you do not want to spill, a pint around which you want to put a 10-metre exclusion zone. But this was always the case. Noel’s songs always combined, in a distinctive way, euphoria and sadness, moods which seem to float free of meaning in the strictest sense. Now they and all their fans have got something to be euphoric and sad about.
The documentary begins with an extended montage of the 90s glory days leading to the ugly falling out in the 00s, and how the non-Oasis years coincided with an era of rubbish politicians and terrible sadness all round. From here we are immersed in the gigs themselves, on the face of it no bigger in scale than many other band’s live shows. s Liam says, they just stand there, rooted to their mic positions; they don’t do Jagger acrobatics, it’s very relaxing and they can keep doing it for years. It was always difficult to be cynical about Oasis and now it’s impossible.
Check local listings.
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