Category: reissue


…features the previously unreleased studio track “Accidental Tattoo” plus twelve never-before-released live recordings captured during the trio’s 2016 tour.
When artists of note collaborate on a project, the greatest obstacle is usually balance. The participants may truly respect one another, but as talent, ego, and personality enter the picture, someone is inevitably going to dominate the proceedings, and someone else will end up in the shadows. Neko Case, k.d. lang, and Laura Veirs seem keenly aware of this on the album case/lang/veirs, an album of songs the three singers and songwriters wrote and recorded between 2013 and 2015. And these songs often suggest a conscious effort to make sure everyone…

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…includes 9 bonus tracks of ‘Midnight Versions’ and rarities.
Marius Lauber’s debut album is in itself a feat of many surprises. The Cologne, Germany-based artist, who records and produces under the moniker Roosevelt, takes measures to make sure that this initial self-titled offering feels far from conventional, yet remains accessible to those who crave new sounds.
Upon first listen of the self-titled debut, Roosevelt’s origin should not surprise many diehards of electronic music, as the genre is very much rooted in the land of the Rhine, with forerunners of synthpop such as Kraftwerk and Neu! both hailing from the country. Roosevelt takes what made those early electro artists special and…

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…’Congratulations I’m Sorry (Expanded Edition)’ is the 2026 definitive reissue celebrating the 30th anniversary of the Gin Blossoms’ multi-platinum third studio album. Originally released in 1996, this expanded version features the original 14 tracks alongside 5 bonus tracks.
Co-produced by John Hampton, Congratulations I’m Sorry debuted at 10 upon its release in February 1996 partially on the strength of “Follow You Down,” which became the group’s first Top 10 hit on the Hot 100.
Most observers wondered if the Gin Blossoms would be able to deliver a consistent second album after the departure (and subsequent suicide) of Doug Hopkins, their former guitarist who wrote “Hey Jealousy” and “Found Out About You,”…

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…the deluxe edition includes two previously unreleased demos from Coe’s earliest Nashville recording sessions with Shelby Singleton.
Though Texas Moon wasn’t released until 1977 on Shelby Singleton’s Plantation label, it was actually recorded in 1973, then sold to Columbia with David Allan Coe’s contract. Needless to say, the recording and production budgets were considerably smaller than they were at the latter label. Well-known for its notorious cover photo, the set’s real merit is that it displays Coe’s ability as an interpretive singer, though on a few tracks he tries too hard. He wrote only two of the set’s ten songs — one of which, “Mary Magdeline,” (sic) is considered a classic. Texas Moon is lean, almost raw. Highlights include Coe’s readings of…

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…includes the original album tracks supplemented by rare B-sides, remixes, and a pair of previously unreleased instrumental tracks.
Maps & Atlases’ second EP, You and Me and the Mountain, found the band moving in a lighter direction than the mathematical frenzy of their first EP Trees, Swallows, Houses. Their first full-length sees them fully morphed into a sophisticated indie pop group. Perch Patchwork is a bold debut, filled with bombastic arrangements, twisting modal progressions, and percussive layers. The skill set is high, but it’s far less showy. Guitarists will still be enthralled by Dave Davidson’s and Erin Elders’ fingertapping, but acoustics take precedent, and moderately slow tempos maintain the album’s balladic feel.

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Visions of Sodal Ye, is eerie and disorientating – the sound of ecological dread – and named for the prophet character in Brian Aldiss’ 1962 novel Hothouse, who realises that life on a far-future Earth is doomed. The record was released by a vanity publishing label who never said ‘non’ as long as they received a fee and a tape. While this should be inconsequential it reveals much about the French counterculture at the end of the ’70s.
Claude Cuvelier and Jean Skowron, the two provincial northern French music nerds who created Mar-Vista, wanted to reach a big audience but suffered countless knockbacks from ‘real’ French labels. The pair came to the conclusion that “the recording industry in France wasn’t interested in our kind of music” and could…

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…expanded version features the original 13 tracks alongside live bonus recordings from 1998.
Grunge, however you define it, still dominated the perception of the Seattle music scene following the death of Nirvana’s Kurt Cobain in April 1994. The disparate bands marketed under that reductive banner — most notably Pearl Jam, Alice in Chains and Soundgarden — continued to shift millions of records, and you couldn’t toss a Doc Marten into the air without smacking an Eddie Vedder soundalike in the face as dozens of outsiders rode the flannel shirt-tails of those tentpole bands to varying levels of success. Still, more and more cracks began to surface in Seattle’s seemingly monolithic stranglehold on alternative rock. In the same calendar year as Cobain’s…

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…the 2CD edition adds rare live recordings and early demos on CD2.
…The London-based three-piece, led by Brian Molko, caused a stir in the mid-’90s with a couple of singles on indies (‘Bruise Pristine’ on a Fierce Panda split 7” and ‘Come Home’ on Deceptive) before signing to Virgin subsidiary Hut. Placebo’s glammed-up image, post-grunge riffs and Molko’s distinctive vocals (not to mention the singer’s talent for promotion) quickly earnt them a besotted fanbase and in 1997 they broke through, with the spikey and sassy ‘Nancy Boy’ reaching No 4 in the singles chart and helping their debut album to go platinum.
Thirty years on, the band have returned to Placebo to give the album’s 10 tracks, plus…

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Twenty-five years on from its original release, Warp Records brings Aphex Twin’s Drukqs back into print on vinyl and CD. Often proclaimed as electronica’s one true genius, Richard James, AKA Aphex Twin, returns with a double CD that showcases his cleverness as well as his inevitable inscrutability. Still, amid macabre birthday songs, unsettling screams, and other bizarre touches, Drukqs offers the most technically accomplished and beautiful tracks of Aphex Twin’s career. Every aspect of the Aphex brain is on display here, from stark pieces performed on sampled piano and zither to Squarepusher-styled drum and bass implosions, all informed by that peculiar Aphex treatment of bittersweet melody and unparalleled programming.

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All India Radio’s sixth studio album and the first to be released on vinyl back in 2010. The new vinyl and digital version features gorgeous new artwork from Ryan T Hancock. This repress uses the original 2010 vinyl master by Tony Mantz which was flawless.
The Silent Surf features the voice of Professor Don Gurnett, famous for his NASA ‘space sounds’ (also used by the Kronos Quartet on their famous Sun Ring recordings) and a cameo (on ‘The Bomb’) by The Church’s Steve Kilbey (Under The Milky Way). “Since the turn of the 21st century, All India Radio has mashed the ambient-hop signatures of DJ Shadow, Tortoise and Thievery Corporation with the instantly recognizable guitar soundtracking of Ennio Morricone and Angelo Badalamenti.

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…The expanded tracklist appends rare live versions of tracks like “Fat Lip,” “All She’s Got,” “Crazy Amanda Bunkface,” “Machine Gun,” and “What We’re All About”.
It would be a mistake to view Sum 41 as just another second-rate band cashing in on the early-’00s punk-pop boom, even if it did recruit Jerry Finn to produce All Killer No Filler. Just as Finn had done for both blink-182 and Green Day, he charges Sum 41’s punk-pop with a razor-sharp edge, the sort of dynamic in-your-face sound that helps this music cross over to MTV and radio so well. Besides the notable production, a lot of credit should go to the band as well. Its songwriting is obviously more diverse here than it was a year earlier on its debut album,…

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Snow Patrol’s Eyes Open album is receiving a special deluxe reissue for its 20th anniversary.
Eyes Open, originally released in April 2006, marks Snow Patrol’s fourth album. It features six singles, including “Hands Open,” “Set the Fire to the Third Bar,” “Open Your Eyes,” “Shut Your Eyes,” as well as the Top 10 hits “You’re All I Have” and “Chasing Cars.” The LP was the best-selling album in the UK at the time of its release, selling over one million copies. It also hit No. 9 on Billboard’s Top Rock Albums chart and is certified 8x Platinum.
“Chasing Cars,” the alternative rock band’s most iconic and biggest single to date, peaked at No. 6 on the UK Singles Chart and No. 5 on the Billboard Hot 100. The tune also earned nominations for Best Rock Song at the 2007 Grammy Awards…

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Hot Chip release the reissues of The Warning, Made In The Dark and One Life Stand. The albums are being reissued this year for the first time. The collection is the result of Joe Goddard, Alexis Taylor, Owen Clarke, Al Doyle and Felix Martin’s lifelong friendship and musical chemistry.
Rewind to the year 2006 when British music was enthrall to guitar bands in winklepickers and waistcoats. And then along came Hot Chip’s album The Warning like a kaleidoscopic bolt from the blue and turned a generation of indie fans onto the hedonistic pleasure of repetitive beats. The Warning was a ahead of the zeitgeist, spending 17 weeks in the UK charts and earning a Mercury Prize nomination thanks to tracks like ‘Over & Over’ and ‘Boy From School’.

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When Pharoah Sanders initially recorded with Theresa in 1979, he was still under contract to Arista. Arista refused to let Sanders be pictured on the cover or mentioned in the title, resulting in the album being issued as Ed Kelly & Friend, although anyone with even a passing knowledge of Sanders’ style immediately recognized his playing. The reissue corrects the title situation and adds five 1992 bonus selections by pianist Kelly to fill out the disc. The first six tunes comprise the original session, and they established a pattern that Sanders faithfully followed throughout his Theresa tenure. They included curious remakes of Sam Cooke’s “You Send Me” and “Pippin” from the Broadway show of the same name, the anguished, wailing “You’ve Got to Have Freedom”…

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The deluxe edition features 15 additional tracks: rare remixes, live versions and instrumentals.
On their sixth album, the increasingly prolific neo-psych outfit Portugal. The Man look to the past for inspiration on In the Mountain in the Cloud. The album represents a breakthrough for the band on a couple of levels, the most obvious of which is their signing to major-label Atlantic, which comes as a big step up after years of quietly working their way through the indie circuit. The other is the less tangible artistic breakthrough. With such a rigorous release schedule, Portugal. The Man has been a band that listeners have been able to watch hone their craft step by step, slowly tinkering and adjusting things and growing into a band that’s not only hit their stride, but is in full…

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When Conal was released in 1981 on the Norwegian independent label Uniton Records with an initial run of 4,000 LPs, Conrad Schnitzler had already long been known beyond the borders of the Federal Republic of Germany and was now appreciated worldwide as a media artist and musician. In addition to the many cassette and LP editions he released himself, international labels were now increasingly releasing his music. In the same year as Conal, for example, the album Control was released on the American label DYS, followed in 1986 by Concert in the USA and Consequenz 2 in Spain. Schnitzler worked tirelessly and his total work of art, including his music, was becoming increasingly multifaceted. Conal is a good example of this development.

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Since 1980 at the very latest, guitarist Kim Simmonds and whatever group of ringers he chooses to call Savoy Brown have been playing bad, late-’70s boogie rock disguised as the blues. It doesn’t matter whether it’s an “original” or a cover, Simmonds and Savoy Brown sound tired on virtually every cut of this set, which covers the years 1992-2007. And his playing, while capable, is simply a reflection of the guitar god imagery of the ’70s. Check out his Robin Trower-ized version of Lowell Fulsom’s classic “Monday Morning Blues,” both the author and Trower (a true electric bluesman) should be insulted. In Simmonds’ hands, the tune becomes a generic, wah-wah-pedaled, psychedelicized blues number with a hint of faux soul thrown in, as does his reading of Willie Dixon’s…

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By 1963 Miles Davis was on the cusp of being left behind. Creatively exhausted, touring with a repeatedly imploding sextet, he was also trading in a form of modal jazz that was rapidly becoming old hat compared to the frenetic, discursive innovations of John Coltrane, Ornette Coleman and Cecil Taylor. However, there were signs of promise. For three tracks on the inconsistent studio LP, Seven Steps to Heaven Davis recruited 17-year-old Chicago drummer Tony Williams, 23-year-old pianist Herbie Hancock and Michigan-born bassist Ron Carter (an ancient 26). Allied to the relentless skitter of Williams’ drums, Carter’s regal, mellifluous bass, and Hancock’s background melodic conversations, Davis was able to expand and contract his sound, allowing for more…

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