New releases last eight weeks: Pop

Review: A classic that delivers the quintessential Euro house experience with its infectious energy and irresistible dancefloor appeal. This new yellow vinyl version brings flashbacks flooding in of the era's vibrant club scene through a mix of upbeat rhythms, catchy melodies and expansive remixes. Side-1 opens with the single version of 'More & More', a track that wastes no time diving into a groove-laden beat and euphoric synth lines. The extended mix that follows stretches the vibe even further, offering DJs and dance enthusiasts a longer ride through the track's pulsating, feel-good energy. Side-2 turns up the heat with the 'Underground' remix, which injects a deeper, more nocturnal edge into the track, perfect for late-night sets. The 'Trance Mix' closes the collection with an ethereal, sweeping take on the original, merging classic Euro house elements with hypnotic trance influences. This release is a love letter to the era of extended pleasure through remixes, capturing both the mainstream appeal and underground allure of Euro house.

Review: Recorded during the final year of her life, this posthumous release finds Marianne Faithfull looking both backwards and forwards - reconciling the weight of legacy with the intimacy of reflection. Across these four new tracks, she honours the dual foundations of her 60-year career: chamber pop and traditional British folk. 'Burning Moonlight', co-produced with long-time collaborator Head, echoes the melancholic grandeur of 'As Tears Go By', while 'Love Is (Head version)', written with her grandson Oscar Dunbar, floats with tender defiance. The flip side turns to lineage and tradition: 'Three Kinsmen Bold' is stark and ancestral, passed down from her father and 'She Moved Thru' The Fair' is sparse, aching, and spectral. Faithfull was born in Hampstead and came of age in 60s London, and here, on what is now her final release, she returns to the very start - not out of nostalgia, but with grace and resolve. It's the completion of a circle, yes, but it still leaves a faint line trailing off into the air.

Review: This six-track EP, crated between the late 'Cloud rap' icon and producer Nedarb Nagrom, is a miraculous refind and repress. The EP originally dropped in 2016 during the early wave of Peep's rise to the broth cream of the etherground emo rap and SoundCloud scene. Peep was still in the thick of lo-fi, punk and emo experimentations, and fellow traveller Nedarb had already been a frequent collaborator. The Katy Perry song referenced in the title is a red herring, as these tracks are original internet artefacts through and through, bearing none of the same pop sensibilities; they're loose and aerated, packing slipshod 808s and drawly hooks from the pink-haired icon.

Review: Fronted by Dane-dame Sannie Carlson, Whigfield was backed by various producers and engineers over the years, main among whom was the towering Larry Pignagnoli. *The* song to commemorate Whigfield by, 'Saturday Night' is a Europop and Eurodance trailblazer, harking back, perhaps, to a more glamorous time, where fashion designers rubbed shoulders with models, PR girls and riviera DJs for Italian and Danish upper crusts. Carlson would record 'Saturday Night' after meeting fellow DJ Davide Riva, who was also part of a music production duo. In three days, an (in your mind-) sticky, bubblegum-popping opus would be written, with a nursery-rhyming refrain and a jaunty na-na-na hook epitomising the notion of a "hair-dryer song", a term coined by Simon Cowell in reference to the song as a precursor to Rebecca Black's 'Friday': "the kind of song girls sing into their hair dryers before getting ready to go out."