Back in stock: Pop

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: Originally released in 1982, this is an iconic album that remains a defining moment in new wave and synthpop, marking the Brummies' ascendance to the pop tree. A sleek fusion of rock, dance and electronic elements, shining with its infectious hooks, shimmering production and visual sophistication. The title track, 'Rio', bursts with energetic basslines and saxophone flourishes, embodying the band's jet-set glamour. 'Hungry Like the Wolf' is a synth-driven, jungle-infused anthem with a howling chorus that became a staple of MTV's golden era. 'Save a Prayer' softens the mood with lush synth textures and melancholic lyrics, showcasing Simon Le Bon's emotive delivery. 'New Religion' is a more hidden gem with its intricate layering of funk-tinged bass and atmospheric synths, while 'The Chauffeur' closes the album on a haunting note, blending minimalistic electronic beats with surreal poetry. Beyond its commercial success, Rio shaped the future of pop and rock, influencing artists across genres. The album's stylish, forward-thinking production and music videos set new standards for the MTV generation, ensuring Duran Duran's legacy as pioneers of the synthpop movement.

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: 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: 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.