Back catalogue: Pop

Review: Happenstance can be a fortuitous element. A union-funded single discovered in a dusty store, a long disbanded band found, leads to unreleased post punk dubs in a box of unreleased demos.

Formed during the mid-80s in the downbeat town of Walsall, their music is a blend of disparate influences from 50's crooners, blues and reggae to Killing Joke and The Bunnymen; Ron's Neighbours were out of step with the perfect pop of the C86 indie generation.

Their only single - "To The Fight" - a split 7" was supported by the Trade Union Resource Centre, while many gigs were benefits for striking miners, leading to a loyal local following.

Engineered by Ozzy Osbourne's brother Tony, tracks were recorded at an 8 track bedroom / home studio, while a terraced house served as rehearsal space. Here Ron Next Door was born. When a tape recorder was left running it captured the long-suffering neighbour for posterity. His outburst gave the band and song, its name.

Experimenting with drum machines, the resultant jam track, here in its "Alternative Mix", languished unheard until now. Ron's 'Black Country' tones lead to driving bass / percussion against crashing Stratocasters and repeating, refrained vox - a post punk dub turned symphony.

The B side, Sitting On Top of the World, is an indie anthem, becoming their theme, a blend of grandiose and banal that characterised their songs.

Review: Not long after a lovely 7" from Ryusenkei in the form of 'Spring Rain', CMT is back with more beguiling and beautiful sounds from the Japanese artists. As always she mixes up elements of jazz funk, city pop, disco and more next to swooning instrumentals while her delicate voice soars. 'Timemachine Love' has a nice upbeat disco feel and rolling bass that never lets up on on the flip of this special sealer vinyl is 'Rainy Cinderella (radio edit) which is a more slow and sentimental soul sound that has poised bass and melancholic horns.

Review: CMT hits its tenth release and serves up a super sweet 7" featuring a fascinating fusion of sounds from Ryusenkei. The A-side here, 'Spring Rain' is a mix of jazz funk, city pop, disco and plenty more, with lush instrumentals and her own delicate vocals sung in Japanese, though she appears to sing the title in English. On the flip is 'Tokyo Sniper' which is a more slow and sentiment soul sound with neat keys and riffs, lush arps and plenty of rich pianos that frame the vocals - which pair off Ryusenkei with a male response - perfectly.

Review: 2014 was a tumultuous period for Polachek as she and her band grew apart; She wanted to create an aesthetic world, make the band dress better and invest in visuals. Needless to say, the 2010s indie band Chairlift wasn't entirely on board. Polachek was creatively parched and set about a production career, producing 'Arcadia' on her laptop whilst on tour using only MIDI instruments, laptop microphone and field recordings (like on the atmospheric 'Hissing Pipes at Dawn'). This period continued with Polachek beginning to perform in small venues in New York under different names, donning a blonde fringed wig and creating an expansive, yet quaint universe that would unquestionably influence the creating of her breakout solo debut 'Pang' 5 years later. Arcadia spans from ambient medieval-esque wind sections to zany strings that conjure up gusts billowing through green pastures with blue skies overhead. 'Dominic' has stood the test of time as the most popular of the tracks, a relationship that's a 'perfect disaster'. Highlights are the organ-led 'Backwards & Upwards' on purging infatuation, stepping backwards to move upwards as Polachek puts it, and 'Lady's Got Gills' with its whistles and what may be a blend of harp, yangqin and guzheng that backs a story of a woman contained. Arcadia is lo-fi cinematic, in a sentence, and a must listen to Polachek fans.

Review: De L'amour Mais Quelle Drole D'idee by Charlotte Rampling (translated as "Love but what a funny idea") is truly the album of an actress. Born from her meeting with Leonard Lasry, Charlotte Rampling inhabits each of the songs with her immediately recognizable vocal imprint with truly unique results. Lush melodies and a production benefiting from luxurious arrangements bring the record to life while the songs are sometimes spoken, sung and played like scenes from the cinema. The lyrics are rare poetry and evoke intimate feelings as they alternate between tenderness, melancholy and sometimes even a few amused and piquant notes.

Review: Isle of Wight self-professed "beach-punks" Reminders had to deal with their fair share of covid-related delays before finalising their cheekily titled debut full-length, 'Best Of Beach Punk.'

Now with UK distribution via punk indie label Venn Records and Wiretap in the US, 2022 is poised to be the year that many get to know the enigmatic, snarky yet unashamedly catchy crew for the potential emo titans they could become.

From the crunchy aggro/sweet embellishments of 'Carousel' to the Shame meets Jimmy Eat World fusion of wit and sincerity on fuzzy opening standout, 'Post Paris Blues', this debut deserves to be given careful consideration by anyone who likes their punk a little bit sugary, or their sugar just a tad gnarly.

Review: Bebe Rexha makes dance-pop relevant again with her self-defining third studio album Bebe, which is sure to cement her already-established credo as one of the underdogs of the contemporary pop landscape. Commencing its making back in December 2021 - beginning with 'Seasons' the first song written for the album - the album overall charts a definable blend of influences, notably that of 70s pop, Fleetwood Mac and Stevie Nicks (all of which are nonetheless channelled in a more bubblegum context). Of course, it also features Snoop Dogg on the track 'Satellite' - notably, Rexha is said to have "frequently smoked marijuana" while making the album.

Review: Romy Madley Croft continues to explore her solo career - as seems to be the inevitable prophesied path of of The xx member trifecta - with Mid Air. Collabs with Fred Again and Beverly Glenn-Copeland here thematically match Romy's implicit vision: to exploring the ever-thinning dividing line between heartfelt rave music and sounds for personal, teary-eyed catharsis moments. Edging ever-more into a more party-pop direction (contrastion to her prior projects' enduring indie tinge), Romy gets far trancier with things on the likes of 'Strong' and 'The Sea', even verging on Eurodance in short bursts. Other moments of downtime further express the many angles of Romy's personal ecstasy, citing the project as a dedication to queer clubbing and a mitigation of loneliness.

Review: Spanish singer-songwriter Rosalia is back with her third studio album and one that is a hugely conceptual and experimental affair. She herself describes it as "her most personal and confessional album" and that is embodied by the lead single, 'Saoko', which celebrates transformation and change. It is an album of pop leaning, reggeaton inspired sounds and plenty of nods to dembow, champeta, flamenco, bachata, hip-hop and piano melodies. The artist's own fierceness and unapologetically brave attitude helps make this the force that it is.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


Spanish singer-songwriter Rosalia is back with her third studio album and one that is a hugely conceptual and experimental affair. She herself describes it as "her most personal and confessional album" and that is embodied by the lead single, 'Saoko', which celebrates transformation and change. It is an album of pop leaning, reggeaton inspired sounds and plenty of nods to dembow, champeta, flamenco, bachata, hip-hop and piano melodies. The artist's own fierceness and unapologetically brave attitude helps make this the force that it is.

Review: Too-Rye-Ay is one of those albums etched into the popular consciousness of the UK - the sound of a million pints being quaffed and bawdy singalongs from city centres to provincial locales. It's fascinating to learn that Dexys Midnight Runners' most popular album was a blight on their catalogue for bandleader Kevin Rowland, but 40 years on he's putting things right with a remixed version of the album. The idea of hearing 'Come On Eileen' in a whole new form is hard to imagine, but here's your chance, and who should we trust other than the artist themselves to say, this is Too-Rye-Ay as it should have sounded.

Review: Here at Juno HQ, we are great believers in the idea that you cannot have guilty pleasures when it comes to music. If you like something, you like it, and you should own that. Still, that didn't stop Sean Rowley from serving up a bumper collection of what he thinks to be sounds you might enjoy but not what to shout about from the rock canon. He first did so two decades ago and so here comes this 20th anniversary edition on double vinyl with umpteen catchy, feel good and singalong classics from the likes of Captain & Tennille, Electric Light Orchestra, Andy Fairweather-Low and many more.

Review: Swedish pop rock duo Roxette were one of the country's breakout acts in the genre. In celebration of the 30th anniversary of their third album 'Joyride', Rhino Records have seen to a due repress in a plethora of formats, including single LP, 4xLP, and even a limited orange marble vinyl version. Remembering the proto-balearic ballad-belters' monumental rise to number 1 on the Billboard 100 chart in May 1991, this album initially sold more than 11 million copies, setting a record previously not achieved by any other Scandinavian act. This version, however, also adds a whopping 35 new and unreleased bonus tracks; check out the night-riding, cutthroat bit that is 'Hotblooded', which was initially intended to take the place of 'Joyride' as the album's lead single.