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Alternative & Indie - Released March 24, 2003 | Warner Records

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Alternative & Indie - Released October 24, 2000 | Warner Records

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Pop - Released October 20, 1982 | Warner Records

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Pop - Released March 27, 2020 | Warner Records

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With her album Future Nostalgia, Dua Lipa perfectly summed up what pop was becoming: a playground more and more quickly digesting the global sound system, in commercial shackles thanks to rapidly changing musical consumption, to be sublimated and taken out on all sides. Besides, isn't that what British music has always done? Originally from London, the singer released a deluxe version of Future Nostalgia, entitled Moonlight Edition, adding eight tracks to the original, including the single We’re Good, along with songs released earlier in 2020 like the single version of her duet with DaBaby, Levitating. Those additions give Future Nostalgia a more rap-oriented accent, less rooted in synthetic disco, namely the duet with American rapper J.I.D. entitled Not My Problem, is the highlight of this reissue. © Brice Miclet/Qobuz
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Alternative & Indie - Released June 7, 1999 | Warner Records

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Alternative & Indie - Released September 24, 1991 | Warner Records

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Rock - Released February 28, 1970 | Warner Records

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Alternative & Indie - Released September 14, 2009 | Warner Records

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Alternative & Indie - Released August 14, 2020 | Warner Records

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Following 2019's ambitious soundtrack Balance, Not Symmetry, Scotland's Biffy Clyro return with their ninth studio album, 2020's brightly attenuated A Celebration of Endings. The album again finds them working with producer Rich Costey, who'd previously helmed 2016's Ellipsis and who has worked with similarly inventive indie rock luminaries like Muse, Fiona Apple, and Supergrass, among others. Since their emergence as a wiry post-grunge outfit in the early 2000s, Biffy Clyro have matured into a reliably consistent power trio known for their prog-inflected anthems that balance pop hooks with kinetically aggressive rock arrangements. It's a sound they brought to fruition on 2009's Only Revolutions and one which they've continued to hone. In a post-millennial streaming world of individualized tracks, Biffy Clyro are somewhat of a throwback to the album-oriented alt rock of the '80s and '90s. Which is to say that while there are stand-out songs here, not every track is meant to play like an immediately gratifying three-minute earworm. There are those kinds of cuts here, including the propulsively galloping "Weird Leisure," with its crackling guitar leads and Queen-like harmonized falsetto backing vocals. Equally compelling is the rollicking "Tiny Indoor Fireworks," with its head-rush chorus about conquering obstacles, real or imagined, in which frontman Simon Neil sings, "I fire it up then blow it out/I build it up then tear it down/Summit the ocean, scale the lake/And I'll pray for the better days." Primarily though, on tracks like "The Champ," "End Of," and "The Pink Limit," they take a more sonically circuitous route, indulging in pummeling guitar riffage, off-kilter drum grooves, and Teutonic fuzz-tone bass bombast. There are also more languid moments as they expand their sound with orchestral flourishes, as on "Space" and the acoustic ballad "Opaque." Ultimately, A Celebration of Endings fits with Biffy Clyro's long-standing knack for combining stadium-sized rock uplift with an undercurrent of wry post-punk thrills. © Matt Collar /TiVo
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Alternative & Indie - Released June 19, 2006 | Warner Records

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Alternative & Indie - Released September 28, 2012 | Warner Records

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Alternative & Indie - Released March 23, 2004 | Warner Records

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Alternative & Indie - Released May 14, 2007 | Warner Records

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Rock - Released March 12, 2013 | Warner Records

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Alternative & Indie - Released September 20, 2005 | Warner Records

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Alternative & Indie - Released May 9, 2006 | Warner Records

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Alternative & Indie - Released June 12, 2020 | Warner Records

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From the cries of “Liaaaaaaam” between each song on this MTV Unplugged, it is clear that adulation for the younger of the Gallagher brothers remains intact eleven years after Oasis broke up. And while his Beady Eye and solo recordings show that the Mancunian has no wish to retire soon, it’s the bangers from his former band that once again steal the spotlight  of this live performance in Hull. Even Liam Gallagher seems more at home as he launches into Some Might Say, Cast No Shadow and Champagne Supernova as opposed to tracks from his solo album Why Me? Why Not. For the Oasis titles, Liam manages even to bring Bonehead along, the band’s old rhythm guitarist. And to make the spectacle all that more impressive, he is joined by musicians from the Urban Soul Orchestra who provide a welcome supplementary touch of class. This MTV Unplugged highlights the vocal progression of an artist who has rarely sang so well. © Clotilde Maréchal/Qobuz
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Alternative & Indie - Released November 9, 2018 | Warner Records

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Whether they're fighting alien invaders, shadowy government conspiracies, or the Apocalypse, Muse always do it for love. On their eighth effort, Simulation Theory, they attempt to break through the virtual matrix in search of that human connection and freedom from the machine. The least complicated or overly conceptual offering (for Muse) in over a decade, the 11-song set is focused and cohesive, blaring down a neon-washed highway of pulsing synths and driving beats while swerving to avoid the orchestral and dubstep meandering of their preceding 2010s output. Unlike these same predecessors, there's also no filler or wasted time, making it the most compulsively listenable and immediate Muse album since 2006's Black Holes & Revelations. Fully embracing their sci-fi tendencies, the trio dip into the nostalgic '80s, tapping the aesthetics of Tron, Blade Runner, and composer John Carpenter. After the dramatic opener, "Algorithm," introduces this new Muse era, they launch into "The Dark Side," one of their strongest singles to date, which blends the urgency of "Bliss" with the groove of "Map of the Problematique." Meanwhile, "Pressure" is a rollicking, horn-backed blast that wouldn't sound out of place blaring from the stadium speakers at a football game. From here, the simulation gets weirder as some of frontman Matt Bellamy's big influences rear their heads. His Prince love returns on the slinky, Timbaland-assisted "Propaganda" -- the type of camp that Muse have been perfecting for years -- while an homage to Tom Morello's guitar stylings -- wonky, down-tuned riffs and hip-hop scratching -- collide with Bellamy's pseudo-rapping on "Break It to Me." On the second half of the album, the mood is lifted as the simulation begins to crack. The uplifting "Something Human" is the "Invincible"/"Guiding Light" of Simulation Theory, leading into singalong anthems such as "Thought Contagion" and the politically charged "Madness" redux "Dig Down." Swedish singer Tove Lo even makes an appearance on the unexpectedly gorgeous "Get Up and Fight," a huge rallying cry produced by Shellback. On an album packed with such catalog standouts, the highlight here is "Blockades," which propels along a pounding gallop that recalls "City of Delusion" and "Knights of Cydonia." While Simulation Theory might appear to be overly polished mainstream trickery -- all part of the simulation! -- it's purely Muse at heart, successfully merging electronic-pop songcraft with their typically urgent, stadium rock foundation. © Neil Z. Yeung /TiVo
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Alternative & Indie - Released June 25, 2002 | Warner Records

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Alternative & Indie - Released May 19, 2017 | Warner Records

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Warner Records in the magazine