New releases this week: Pop

Review: Mariah Carey's tenth studio album stages a triumphant reclamation, not just of her voice but her autonomyicreatively, emotionally, and professionally. Rooted in Atlanta's crunk renaissance and steeped in New York r&b melodrama, it cuts through the excess of early-2000s pop with a steely sense of control. 'It's Like That' sets the tone: sharp, percussive, almost defiant. But it's 'We Belong Together' that cements the comeback, all tightly-wound longing and near-whispered devastation, sounding like midnight heartbreak on Hot 97. Neptunes collaborations 'Say Somethin'' and 'To the Floor' stretch her sound into slicker, clubbier territory, but never lose grip. Even on the gospel closer 'Fly Like a Bird', she dials back the melisma, letting space and breath do the work. From the brushed-off dismissal of 'Shake It Off' to the midnight crawl of 'Mine Again', there's a considered minimalism throughoutirestraint not as limitation but as liberation. Freed from industry baggage and tabloid distortion, Carey reasserts herself with quiet mastery, sounding not just back but unbothered, undefeated and utterly in control.

Review: On her ambitious ninth album, American pop queen Miley Cyrus delivers a genre-spanning collection that highlights her desire to constantly evolve and challenge convention. Something Beautiful blends soulful ballads, shimmering 80s pop and dancefloor-ready anthems, all pop which are anchored by her unmistakable, raspy vocals. From the emotionally rich title track to the high-energy sparkle of 'Every Girl You've Ever Loved,' the album brims with dynamic songwriting and bold sonic choices. While its conceptual aspirations sometimes feel abstract, the music is polished, confident and often euphoric. With strong collaborations, vivid production and a clear love for performance, the record reaffirms Cyrus as a fearless pop innovator exploring new emotional terrain.

Review: Few synth-pop acts have captured the elegance, wit and sheer dancefloor appeal of this UK dance pop duo, and this compilation remains the definitive snapshot of their first five years. Originally released in 1992, this double album compiles 18 of their biggest hits, now reissued on striking blue vinyl is a remarkable album that's full of excellent songs that flow like a no other. The track list reads like a masterclass in electronic pop. From the moody, detached cool of 'West End Girls' to the euphoric satire of 'Opportunities (Let's Make Lots of Money)', the duo's signature mix of sharp social commentary and irresistible melodies is on full display. 'It's a Sin' and 'Always on My Mind' showcase their ability to turn theatrical drama into anthemic dancefloor epics, while 'Domino Dancing' and 'Left to My Own Devices' reveal a Latin-infused, orchestral ambition. The collection also includes 'Where the Streets Have No Name (I Can't Take My Eyes Off You)', a bold, unexpected U2/Frankie Valli mashup and 'Was It Worth It?', a then-new single that closes the album with reflective melancholy. Sonically, the reissue retains the crisp production that made these tracks timeless, while the blue vinyl adds a collector's appeal. More than just a greatest hits album, Discography is an album that gathered their impact in a perfect compilation.

Review: British singer-songwriter Shura has spent some serious time, effort and thought on I Got Too Sad For My Friends. Six years, in fact. During that period, she's clearly learned at lot about life, love, loss, and whatever other L-word you can think of that means 'maturity' to those in the know. The result is a spectacularly accomplished collection that reveals an artist at their creative peak. To date, anyway. Cornerstone of the record, and the very first single, is 'Recognise', and this is perhaps the strongest case in point. From whispy and whispered opening, through full, cacophonous bloom, it's a track that keeps us in a beautiful dark until its monumental, joyful reveal. Elsewhere, 'Ringpull' and 'The World's Worst Girlfriend' betray a clear penchant for classic 1980s pop, while the likes of 'Online' seem to float in on a serene cloud of gentile pianos and hovering strings.

Review: This five-disc CD set has an impressively broad and satisfying journey through one of the most dynamic decades in popular music. From glam to disco, punk to singer-songwriter balladry, soul to soft rock, each disc brings together an eclectic mix of tracks that still feels essential. The opening tracks boast undeniable energy: Queen's 'Don't Stop Me Now' and ELO's 'Mr Blue Sky' remain joyful anthems, while Blondie's 'Heart of Glass' and Gary Numan's 'Cars' introduce a touch of post-punk and synth-pop futurism. As the compilation moves into moodier and more socially charged fare, the inclusion of The Clash's 'London Calling' and Marvin Gaye's 'What's Going On' add depth and urgency, but there are moments of sheer beauty like Joan Armatrading's 'Love and Affection' and Justin Hayward's 'Forever Autumn' too. The disco era gets a full-bodied celebration with staples like Gloria Gaynor's 'I Will Survive', Chic's 'Good Times' and Earth Wind and Fire's 'September', each one carrying the rhythm and flair that defined dancefloors at the time. Meanwhile, soft rock and radio-friendly hits like 10cc's 'I'm Not In Love' and Bread's 'Make It With You' provide smoother, introspective tones. Nostalgic singalongs such as 'Sweet Caroline', 'Mull of Kintyre' and 'Tie a Yellow Ribbon' add a glimpse of warmth that remains from the 60s. Each track is a classic in its own right, but together they form a kaleidoscope of 70s culture.

Review: Yeule (Nat Cmiel) is something of a sonic scrapyard varmint, scouring the lost wastes for augmentable audio parts perhaps useable in their madcap experiments. An avant-garde spin doctor of ash-faced, death-ray-desert-bomb glitch-pop, they've kept their place at the knife-edge of innovation, blending genres and non-genres at the violent vanguard where sounds remain in constant, slipped flux. In the lineage of Machine Girl, ecolagbohrsac2021 or Hakushi Hasegawa, 2022's Glitch Princess laid nutritious ground for Cmiel's now evermore fractious work, Evangelic Girl Is A Gun, which hears the somewhat alter-egoic Yeule now delve into the complexity of a fragmented identity, embracing the duality of light and shadow while echoing surreal animes, such as Serial Experiments Lain and Angel Egg. The LP reimagines Yeule as a haunting figure, exploring ego deaths and transformations in partnership with visual artist Vasso Vu.

Review: Non-binary performance artist Nat Cmiel from Singapore, often also known as yeule, continues to push the boundaries of glitch-pop and alt-electronica with their latest release. After solidifying their reputation as a trailblazer with their sophomore album Glitch Princess and its follow-up softscars, Cmiel takes a more daring, raw approach here. It's a cathartic exploration of self-destruction, trapped identities and the dark undercurrents of post-modernity, where Cmiel's ethereal vocals intertwine with dissonant beats, creating a paradox of beauty and tension.The sprawling atmospherics of 'Tequila Coma' and '1967' unfurl into a liquid haze, giving way to the razor-edged urgency of 'VV' and 'Dudu', which channel a palpable, jittery rhythm that commands attention. Collaborating with the likes of A.G. Cook and Mura Masa, the album navigates between haunting introspection and electrifying energy. It's a striking nod to Cmiel's ability to balance vulnerability and sonic experimentation, presenting a portrait of the artist struggling with the very image they've built.