Back in stock: Pop

Review: In around 2013, artists like Yung Bae pioneered the genre of future funk, which took elements from early Japanese city pop and funk from the 1980s, and turned it into hyper-compressed, dull and nostalgic explosions of sampledelic sound. But in turn, it reinvigorated interest in the particular brand of city pop that had been sampled - and those already in the know about it will know it was already danceable and driving enough. ANRI, the singer hailing from Kanagawa, was a central artist in this early J-pop sound, and unwittingly paved the way for this decades-to-come cultural routing. Funky live horns, dynamic vocal jumps and an optimistic feel cut across her 1982 opus Heaven Beach - a more laid-back and relaxed album compared to her other projects, and only her fourth. Emblematic of the Sino-nostalgia that has taken the vaporwave and future funk community by storm, it was one of her four earliest albums to be released with the timeless Japanese music trademark - the obi-strip.

Review: Japanese city-pop starlet Anri was a fixture of the late 1970s to early 80s, and renewed interest in her work has sparked something of a reissues incentive. Now her 1984, early-to-mid career album Coool sees a reissue via For Life alongside Bi Ki Ni, and further hammers home her romantic vision in disco. Unlike the aforementioned album, Coool is slightly more electronic and dancey, and meditates more on appreciating nature than romance, with standout track 'Gone With The Sadness' reflecting Anri's experience of getting away from the city and leaving the sadness that comes with urbanity by the door.

Review: Loredana Berte's unmistakable voice meets the glittering finesse of French touch as Dimitri From Paris spreads her 1980 hit 'In Alto Mare' across a hot griddle of club-ready disco. The track launches a new remix series celebrating Berte's legacy through the lens of contemporary producers and DJs: Dimitri, known for his stylish refits of Jamiroquai, Chic and Dua Lipa, now leans into a comparatively classic funk groove, elevating it with a cinematic glide and streamlinear post-prod polish. Long a staple of his DJ sets and broadcasts in bootleg form, this official release feels fated. "It's melodic, disco-flavoured, cinematic, and emotionally powerful - all the things I love," he says, as it manifests as the first of seven reworks dropping over the course of May 2025.

Review: Hall and Oates, known for their classic You Make My Dreams, found new life in their lesser-known album, Abandoned Luncheonette. Recorded in 1973 at Atlantic Studios with producer Arif Mardin, this album captures them during the early points of their career, blending expert songwriting, beautiful harmonies, and top-tier musicianship. The standout tracks on Side-1, such as 'When the Morning Comes' and 'She's Gone,' highlight their Philly-soul sound and sublime production. 'Abandoned Luncheonette' on Side-2 also shines with its poignant storytelling about a derelict luncheonette, inspired by the album cover photo. These deep tracks are gaining appreciation from new generations, uncovering diamonds in their discography. This album is a testament to their youthful creativity and musical brilliance, inviting us all to explore beyond the hits and discover the true essence of Hall and Oates.

Review: Miami-born and raised, synth-pop duo Magdalena Bay relocated to Los Angeles and have been blazing a trail with their self-produced music towards the top of the pop world. To celebrate the beguiling aura of their second album, released in August 2024, there's a limited repress of it in a stunning yet chaotic and artsy clear blue. Stacked with bangers, including the ethereal disco single 'Image' and the cosmic electropop epic 'Death & Romance' - which recalls Destiny's Child as much as it does Jean Michel Jarre - Magdalena Bay are clearly brimming with ideas. That they then know how to package these ideas with a cohesive visual aesthetic helps them hugely on their way and at the pace they're going creatively, there's seemingly a glorious road ahead.

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


Light In The Attic teams up with Laurie Anderson and the Lou Reed Archive for a thrilling retrospective, Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65. An expansive selection of songs all written by Lou Reed, during his mid-60s stint as the staff songwriter for the long-defunct label Pickwick Records, this is a rare glimpse of a master rock musician stepping out of the limelight over the course of 25 songs, yet still letting the form and contour of his voice and sensibility be heard. All this was achieved before Reed had at all launched his career with the Velvets; it may indeed be said that this pubescent 60s period was the firelighter to Reed's flame, as the label specialised in soundalike records that emulated the major pop hits of the day - it's no wonder Reed would absorb such emulations and take them in as his own, albeit with a Century-defining twist. Channelling everything from teenybopper pop to soul-inflected garage rock, whether byJeannie Larimore, The Hi-Lifes or The Hollywoods, we get a thorough look-in here as to what made Reed and his contemporaries tick, and what Reed made tick in turn, before the fame.

Review: Since Light In The Attic embarked on its comprehensive Nancy Sinatra Archival Series, it has done wondrous justice to the towering career of the American popular singer. But the work isn't done yet, and the latest chipping-away at the cinderblock comes in the form of a reissue (surprisingly not ever reissued before) of Nancy & Lee Again, her second trailblazing duet album with Lee Hazlewood. Haunting, nostalgic and full of sunned takes on a marriage, splits, lost jobs and general social tumult - the stories are narrated by Hazlewood in his best gruff voice - the overall tone of this album could be said to be predictive of shoegaze, as it is generously doused in reverb, but the similarity ends there. Sinatra's stark Americana influences are most obvious; they shine through on the use of sublime slide guitar ('Did You Ever'), skiffling ¾ metres, and twangy banjo fingerstylings.

Review: In her highly anticipated 11th studio album, The Tortured Poets Department, Taylor Swift dives deep into raw emotion, showcasing her trademark vulnerability once again. Each track explores themes of love, loss, and self-discovery that will resonate deeply with her devoted fan base. Swift's lyrical prowess shines as she navigates heartbreak and resilience, accompanied by rich melodies that tug at the heartstrings. The album serves as a testament to the complexities of human experience, highlighting Swift's evolution as both a songwriter and storyteller. With over 200 million records sold and 13 Grammys under her belt, Swift's latest release promises a departure into darker, more introspective themes while retaining her signature charm.

Review: The 'Pacific Breeze' series documents the best of Japanese city pop, the genre that took such metropoli as Kyoto and Osaka by storm in the mid 1970s and from then on. With blistering optimism, the tracks on this third compilation blend funk, surf and R&B elements, forming a heady stew of music, all of which has been remastered in only the most pristine multi-channel quality.

Review: YUNGBLUD's hook-up with Lil Yachty is renowned amongst fans for its trippy production and tight, evocative, mind-melting bars. It has never before been on vinyl but this year's Record Store Day rights that wrong while serving it up with a superb, exclusive, introspective in-studio acoustic performance of the track. 'When We Die (Can We Still Get High?)' was first released on January 26, 2024 by Locomotion Recordings and Geffen Records and is a new school mix of alternative rock, psychedelia and hip-hop that explores themes of mortality and escapism with production by YUNGBLUD plus Matt Schwartz and Paul Meany. It's an introspective gem.