New releases last two weeks: Pop

Review: Betty Boo's irreverent blend of pop, rap and dancefloor sass took UK charts by storm in 1990, and her debut album Boomania here returns by way of a deluxe edition digging as deep into that exact era-defining sound as can possibly be dug. Originally launched off the back of her breakout appearance on The Beatmasters' 1989 single 'Hey DJ / I Can't Dance (To That Music You're Playing)', Boo's first full-length reached number four on the UK charts and went platinum. This expander reissue compiles 12 originals and 14 bonus cuts, including multiple versions of the four hit singles, from the King John and Peter Lorimer mixes of 'Where Are You Baby?' to Vince Clarke's Oratonic mix of '24 Hours'.

Review: Released in 1992, Grrr! It's Betty Boo marked a stylistic and personal evolution for Betty Boo, arriving two years after her platinum-selling debut (also reissued now through the Betty Boo estate). While it didn't replicate the commercial heights of Boomania, it still delivered a memorable top 20 single with 'Let Me Take You There' and offered a flurry of follow-ups including 'I'm on My Way', 'Catch Me', 'Thing Goin' On' and 'Hangover'. With its bold visual identity referencing Tigra cigarette packaging and a dedication to her late father, the album hinted at more introspective themes beneath the tongue-in-cheek flair. Critics noted its playful absurdity and inventive rhyming, while Madonna later lamented its lack of recognition, calling it "horribly ignored". Sad to say, this would be Boo's last album before stepping away from music some years.

Review: A live concert recording of the penultimate date on Kate Bush's first and only ever tour: The Tour of Life. As part of this run, Bush performed three nights on the trot at the Hammersmith Odeon in West London and the middle date was broadcast, thus immortalising one of the most innovative shows of that era or any era since. Hot off the heels of the release of her debut album The Kick Inside and the follow up Lionheart - both released in 1978 - the setlist draws heavily from said albums and she turned the songs from those albums into a visual spectacle. The full-blown theatrical appearance came at a time when Bush was the most photographed woman in Britain and had a megahit in the shape of her debut single 'Wuthering Heights' and soAit's a truly defining era that's on record. Kate Bush's mystique and a goddess-like aura may have been nurtured through her emphasis on visual art and theatre but delving into the music alone and drawing your own pictures to go with it, aided by her mesmerizing voice, is equally enthralling.

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: Cicciolina. Now there's a character. Disco-pop singer, porn star, politician, and ex-wife/muse of legendary shiny balloon artist Jeff Koons i it's fair to say the Italo-Hungarian icon has worn a few hats over the years. Perversion features a selection of reissued tracks from her 80s heyday, including the magnificently titled 'Sexy Porno Shop', which in itself renders the record worthy of consideration. If you hadn't already guessed from the preamble, the music is kitsch, to say the least, with bubblegum vocals, earworm synth lines and generally pulsing tempos. But there are hidden gems: the (ahem) innocent vocals and twinkling melodies of 'Goccioline', the rousing congas and inspired 'no drugs, I love sex, much more sex' vocal of 'No Drugs', and the brilliant cover of the Rolling Stones' 'Satisfaction'. Echoing far, far simpler times, it's either politically incorrect nostalgia or pioneering, sexually liberated abandon. Either way, it's bags of fun.

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: Who can forget Maneskin's triumph for rock on the Eurovision stage as they brought the win for Italy in 2021? In Damiano David, the Italian band have a natural born frontman who is now having his Harry Styles moment and stepping out on his own and forging a distinctive solo career to rival the day job. Despite being labelled a glam rock outfit, Maneskin's pop element always shone brightly and so for his debut solo album David has tapped more heavily into that side of his. David's embraced co-writes and in terms of the production he has thrown the kitchen sink at it to get a massive sound. 'The First Time' has more hooks than a fisherman's tackle box and a sweeping epic Sprinsteen-esque feel. Another highlight 'Next Summer', lets David's vocals star, but the arrangement is unexpectedly massive. Despite its sparse beginning it turns into an orchestral showstopper indicative of the seemingly vast resources the label have had to craft this beauty.

Review: Donovan's iconic 'Hurdy Gurdy Man' album gets the re-issue treatment here, and what a collection of music it still proves to be after so many years. The mix of folk and psychedelia is almost the epitome of the late 60s spirit of exploration, rebellion, generational dismay and hope. The hyper-memorable title track sets the tone with its swirling melodies, jangly guitars, and Scottish-born Donovan's strangely sinister vocal, which moves between dreamy and intense. Released in 1968, the album reflects the counterculture era, with lyrics that explore themes of mysticism and transformation. The rest of the album drifts between moments of whimsy and introspection, with tracks like 'The Sun is a Very Magic Fellow' and 'Peregrine' showcasing Donovan's ability to blend folk simplicity with psychedelic complexity. 'Hurdy Gurdy Man' remains an important snapshot of its era, holding up as a timeless piece of sonic adventuring.

Review: Emma Noble, the emerging soul singer from London, delivers a powerful performance on the girl group soul anthem 'Unstoppable'. Her second single, it's poised to become a next-gen floor-filler; catch us playing it on repeat, *in flagranti*, after it premiered on Craig Charles' BBC6 Soul Show in early 2025. 'Going Going Gone' backs it up on the B-side, as the first single from FPE's upcoming album Waves. Hearing rising Australian singer-songwriter and pop genius J Mahon on vocal duties, the track's catchy brass sections combine with J's androgynous soul vocals, and evokes the sounds of young Motown artists in the style's 60s adolescence.

Review: To mark its 15th anniversary, Hurts' debut album Happiness receives a long-awaited vinyl release as a rather special limited-edition picture disc. The synth-pop duo's breakthrough was originally released in 2010 and is revisited in full here with all the hits, featuring such as 'Better Than Love,' 'Wonderful Life' and 'Stay.' This debut vinyl pressing adds further value with a side of deluxe edition highlights including the festive fan favourite 'All I Want For Christmas Is New Year's Day' and Arthur Baker's remix of 'Wonderful Life.' It's a sleek and nostalgic listen that reminds of the moody glamour and melodic punch of Hurts' defining debut.

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: Addison Rae's debut album has been long-awaited by fans and is finally here via Columbia Records and marking the bold step into full-fledged pop stardom many have expected for a while. Featuring previous fan-favourite singles like 'Diet Pepsi,' 'Aquamarine' and 'High Fashion,' the album showcases Rae's evolution from viral sensation to polished pop artist. It was co-written and produced with Luka Kloser and Elvira Anderfjard, and pairs bright, glossy production with playful, high-glam energy that is sure to cut through all summer long from festal stages to car radios. The latest single 'Headphones On' embodies the album's confident tone - it's fun, flirty and unmistakably self-assured. A surprisingly self-aware debut full of chart-ready appeal.

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: To mark its 30th anniversary, Take That's iconic 1995 album Nobody Else gets the deluxe treatment with its first-ever vinyl release. Packed with beloved pop-hits of the era like 'Sure,' 'Back for Good' and 'Never Forget,' this reissue brings new life to a classic 90s gem by including exclusive extras such as the rare Japanese bonus track 'All That Matters to Me,' electrifying live recordings from the 1995 Nobody Else Tour, and a brand-new remix of 'Hanging Onto Your Love' by Howard Donald, who later went on to DJ in his own right. It makes for a nostalgic yet updated celebration of a defining era in British pop.

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: The Now! compilations have come a heck of a long way since their inception in 1983, thanks to the mantic capabilities of Stephen Navin, Jon Webster and Peter Jamieson, major label collaborators operating between EMI and Virgin. Inspired by a 1920s British advertising poster depicting a pig exclaiming, "Now, that's what I call music!", these roundups are bona fide arbitrations of taste indeed. While decadal / period retrospectives are their usual fare, their yearly roundup subcategory takes shape for 2025, enshrining the very best earworms of recent memory: Tyla's 'Water', Lil Nas X's 'That's What I Want', Ariana Grande's 'Yes &?' and Raye's 'Escapism'.

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.