Back catalogue: Pop

Review: Bjork and Rosalia team up for the limited marble vinyl edition 12" double-sider, 'Oral', now coming packed with a stunning remix by Olof Dreijer from The Knife. The record is described by its releasers OLI as not just a single release but a "call to arms", with 100% of the profits being funnelled directly to AEGIS, the Icelandic charity dedicated to eradicating intensive fish farming in the country. 'Oral' itself is now a staple of the latest incarnation of Bjork's ever-mutant career, consummating her and Rosalia's recent rapport; a sabre-wielding, purblind aesthetic - befitting also of another of Bjork's collaborative contemporaries, Arca - fits seamlessly with the elegiac reggaeton of the song. Dreijer's remix is rabid and wonky by comparison, its draggy, morphemic rhythms belying Bjork and Rosalia's equally wetted vocals, producing a wacky litany of faunal electronics and whizzing FX.

Review: Happenstance can be a fortuitous element. A union-funded single discovered in a dusty store, a long disbanded band found, leads to unreleased post punk dubs in a box of unreleased demos.

Formed during the mid-80s in the downbeat town of Walsall, their music is a blend of disparate influences from 50's crooners, blues and reggae to Killing Joke and The Bunnymen; Ron's Neighbours were out of step with the perfect pop of the C86 indie generation.

Their only single - "To The Fight" - a split 7" was supported by the Trade Union Resource Centre, while many gigs were benefits for striking miners, leading to a loyal local following.

Engineered by Ozzy Osbourne's brother Tony, tracks were recorded at an 8 track bedroom / home studio, while a terraced house served as rehearsal space. Here Ron Next Door was born. When a tape recorder was left running it captured the long-suffering neighbour for posterity. His outburst gave the band and song, its name.

Experimenting with drum machines, the resultant jam track, here in its "Alternative Mix", languished unheard until now. Ron's 'Black Country' tones lead to driving bass / percussion against crashing Stratocasters and repeating, refrained vox - a post punk dub turned symphony.

The B side, Sitting On Top of the World, is an indie anthem, becoming their theme, a blend of grandiose and banal that characterised their songs.

Review: Widely acclaimed Japanese rock band RADWIMPS has joined forces with German label Black Screen Records for the release of their latest studio long player Forever Daze on vinyl. It was released back in November of 2021 when it was their first new album for three years and now it makes its wax debut. It features 14 tracks, one of which is a new original version of 'Weathering With You' and was written throughout the pandemic yet still features a diverse group of collaborators who help to bring the experimental elements to life. Singles 'Blame Sumer' and 'Iron Feather' are amongst the highlights.

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: Rag'n'Bone Man, born Rory Charles Graham, is "embracing joy and balance in his life" as he releases his new album What Do You Believe In?. Known for his gravelly blues vocals, the British singer gained global recognition with his 2016 debut Human, which went platinum four times in the UK and multi-platinum in 27 other countries. Now, supported by family and newfound confidence, Rag'n'Bone Man's latest work blends personal growth with vibrant hooks and takes fans on an uplifting musical journey with title track setting the tone in superb fashion.

Review: Rahim Redcar, who you man know was formerly of cultured pop greats Christine and the Queens, embarks on a solo journey here with Hopecore, an album born from raw emotion and unwavering faith in authentic self-expression that comes in nice blue vinyl. Crafted through tears, determination, and a deep spiritual connection, Hopecore embraces music's vast, untamed energy and Redcar's vision is uncompromised throughout which means he allows no external influence to alter his intentions. The album is both a call to the flesh and a prayer for justice and freedom and one that does a fine job of reflecting his pursuit of absolute artistic truth.

Review: 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: Why Don't You Smile Now: Lou Reed at Pickwick Records 1964-65 offers a fascinating glimpse into Lou Reed's early work as a hired songwriter before his iconic days with the Velvet Underground. Released by Light in the Attic Records, this 25-song anthology captures the raw beginnings of Reed's journey in music. The double vinyl format showcases Reed's ability to navigate a range of styles, from the surf-infused doo-wop of the Hollywoods' 'Teardrop In The Sand' to the gritty garage-rock of the Roughnecks' 'You're Driving Me Insane.' This collection not only features Reed's contributions to Pickwick Records, a label known for its budget sound-alike recordings, but also includes the pivotal track 'The Ostrich,' a song that would eventually lead Reed to meet John Cale, laying the groundwork for the Velvet Underground. The anthology also highlights Reed's first collaboration with Cale on 'Why Don't You Smile,' which was later covered by Spiritualized. With detailed liner notes from Richie Unterberger and an essay by Lenny Kaye, this double vinyl release offers a deeper understanding of the roots of Reed's legendary career.

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: Barbadian singer Rihanna's Rated R album marked a bold departure from her earlier pop-centric sound and saw her head into a darker, edgier side. Released in the aftermath of her highly publicised personal struggles, the newly reissued album blends rock, hip-hop and pop with haunting and aggressive undertones. Tracks like 'Russian Roulette' and 'Hard' reflect her emotional vulnerability and resilience, while 'Rude Boy' offers a more playful, upbeat vibe. Rihanna's vocal delivery is powerful and raw as you would expect given the context and effectively conveys the album's themes of empowerment, defiance, and introspection. Rated R is a daring and transformative work that highlights Rihanna's talents and is well worth copping for your collection.

Review: Porter Robinson's Smile! is a lively exploration of maximalist pop, filled with energetic beats and catchy melodies. The album opens with the high-energy duo 'Knock Yourself Out XD' and 'Cheerleader,' both are uplifting synths and powerful choruses that are sure to light up live performances. While Smile! dives into themes of fame with a playful, tongue-in-cheek approach, it's clear that Robinson is having fun with this new direction.Tracks like 'Kitsune Maison Freestyle' stand out with their irresistible, bouncy rhythms, and 'Mona Lisa' delivers a breezy, laid-back vibe. 'Russian Roulette' shines with a stunning chorus that lingers long after the song ends. While the album's irony might feel a bit heavy-handed at times, there's an undeniable charm in the way Robinson blends humor with heartfelt moments. There are quieter tracks that offer a nice contrast as well. Smile! is an exciting departure from Robinson's previous work and it's an entertaining ride that's worth a listen for its infectious energy and spirit.

Review: Porter Robinson's third LP, Smile shows his evolution from EDM prodigy to a multifaceted artist blending singer-songwriter sensibilities with early 2000s synth pop, pop rock, and pop punk. This album features vibrant, nostalgic elements reminiscent of M83, early MGMT, and the Postal Service, delivering a sound that is both upbeat and introspective. The singles, including 'Cheerleader,' reveal Robinson's playful yet earnest approach, responding to contemporary music memes with a nod to emo pop rock. Tracks like 'Knock Yourself Out,' 'Mona Lisa,' and 'Russian Roulette' highlight his knack for crafting catchy melodies and poignant lyrics. 'Kitsune Maison Freestyle' adds an 8-bit synth pop twist, while 'Easier to Love You' offers emotional depth. Opening with 'Knock Yourself Out,' Robinson blends humor and vulnerability, reflecting on his journey and the support system that bolsters his success. The album's bright, fuzzy synthesizers and soaring choruses create a cohesive, life-affirming experience, underpinned by personal and clever songwriting. Smile will not disappoint fans looking for some pop dance music.

Review: Romy Madley Croft continues to explore her solo career - as seems to be the inevitable prophesied path of of The xx member trifecta - with Mid Air. Collabs with Fred Again and Beverly Glenn-Copeland here thematically match Romy's implicit vision: to exploring the ever-thinning dividing line between heartfelt rave music and sounds for personal, teary-eyed catharsis moments. Edging ever-more into a more party-pop direction (contrastion to her prior projects' enduring indie tinge), Romy gets far trancier with things on the likes of 'Strong' and 'The Sea', even verging on Eurodance in short bursts. Other moments of downtime further express the many angles of Romy's personal ecstasy, citing the project as a dedication to queer clubbing and a mitigation of loneliness.

Review: It feels like Romy's debut album has been a long time coming, but it's absolutely worth the wait. Stepping to one side of the imposing shadow of her band The xx, the world-famous singer-songwriter has taken her time to deliver something sincere and vulnerable which opens up her world and celebrates the places she's found sanctuary. Having worked extensively with production wonder boy Fred Again, writing for other artists, the two finally funnelled their creative chemistry into songs for Romy which now result in a perfect nugget of pop-club with aeons of space for all the feelings to swirl. It's immediate and catchy, but elegant in equal measure, and certain to lodge Romy in the pantheon of modern pop titans for sensitive souls.

Review: Spanish singer-songwriter Rosalia is back with her third studio album and one that is a hugely conceptual and experimental affair. She herself describes it as "her most personal and confessional album" and that is embodied by the lead single, 'Saoko', which celebrates transformation and change. It is an album of pop leaning, reggeaton inspired sounds and plenty of nods to dembow, champeta, flamenco, bachata, hip-hop and piano melodies. The artist's own fierceness and unapologetically brave attitude helps make this the force that it is.

Review: Rosalia's third album, Motomami, boldly blurs the lines between classical and contemporary music with humor and confidence. Spanning diverse genres like dembow, reggaeton, and electro, Rosalia effortlessly navigates through experimentation while paying homage to her influences. The album's eclectic production and Rosalia's pristine soprano voice shine across tracks like 'Saoko' and 'Candy,' where emotional depth meets musical innovation. MotomamiI's exploration of themes like love, faith, and empowerment showcases Rosalia's evolution as an artist. With references to cultural icons and unexpected collaborations, Rosalia asserts her artistic autonomy and global impact.

Review: The understated brilliance of this release, the first from the singer of massive K-Pop girl sensations BlackPink, lies in its quiet intensity. It's an album that feels more like a journey than a set of individual tracks, unfolding with gentle but persistent layers. The melodies are sparse yet rich, never rushing to make an impression, but slowly pulling you into their orbit. You'll find yourself caught in the understated emotion of it allimore subtle than obvious, but powerful when you let it wash over you.

Review: The Band Cover edition of South Korean k-pop star Rose's debut album Rosie offers a unique sonic experience, where fans are provided an alternative take on the album's presentation. Artisianally bundled in with two out of three collectors' edition Polaroid picture, and with exclusive cover art emphasising Rose's rootedness among friends, this edition incurs a state of youthful rebellion, blending punk aesthetics with South Korean heritabilities. Along with the original tracks from Rosie, listeners are treated to stripped-back versions that heighten and home in on Rose's vocal chops.

Review: Rosie is the debut solo album by Rose (Roseanne Park). Reflecing on her New Zealander and South Korean roots, the record hears a hardcore starlet retell her personal journey through heartbreak, fame, and the struggles of her early twenties. Co-written and co-produced by Rose herself alongside collaborators Bruno Mars and Carter Lang, we hear a sweltering 12 tracks spanning pop-punk, r&b, synthpop, and balladry, carefully teasing a rawer vulnerability compared to her previous work. Songs like 'Apt.' and 'Toxic Till The En' explore Rosie's experiences with toxic relationships, while 'Number One Girl' and 'Drinks or Coffee' reveals a complex take on love.

Review: Here at Juno HQ, we are great believers in the idea that you cannot have guilty pleasures when it comes to music. If you like something, you like it, and you should own that. Still, that didn't stop Sean Rowley from serving up a bumper collection of what he thinks to be sounds you might enjoy but not what to shout about from the rock canon. He first did so two decades ago and so here comes this 20th anniversary edition on double vinyl with umpteen catchy, feel good and singalong classics from the likes of Captain & Tennille, Electric Light Orchestra, Andy Fairweather-Low and many more.

Review: Roxette's Crash! Boom! Bang! receives a fitting tribute with this special 30th-anniversary edition. Pressed on striking black and white vinyl, the double album includes 18 tracks, along with an 8-page booklet celebrating the band's global success. The record is a snapshot of Roxette at their peak, showcasing hits like 'Sleeping In My Car,' 'Fireworks,' and the title track. It's an album that blends pop perfection with moments of sonic exploration, reflecting their confidence and ambition following years of chart-topping success. With the band's expansive sound and undeniable presence, this anniversary edition is a must-have for fans of Swedish pop royalty.

Review: Swedish pop rock duo Roxette were one of the country's breakout acts in the genre. In celebration of the 30th anniversary of their third album 'Joyride', Rhino Records have seen to a due repress in a plethora of formats, including single LP, 4xLP, and even a limited orange marble vinyl version. Remembering the proto-balearic ballad-belters' monumental rise to number 1 on the Billboard 100 chart in May 1991, this album initially sold more than 11 million copies, setting a record previously not achieved by any other Scandinavian act. This version, however, also adds a whopping 35 new and unreleased bonus tracks; check out the night-riding, cutthroat bit that is 'Hotblooded', which was initially intended to take the place of 'Joyride' as the album's lead single.

Review: RYUSENKEI, the city pop group led by Cunimondo Takiguchi, returns as a unit fronted by new singer Sincere as an official member. New album Illusions comes hot on the heels of Sincere's addition, forming their first release on the Alfa Music label. Formerly known as Kanji, the newly reformed all-caps name RYUSENKEI likewise heralds this change in sound and membership. Led by such mega-smooth city pop shoulder-shakers as 'Super Generation' and 'Tricot', Illusions is an album full of optical night-driven fantasies, fixated on the city of Tokyo as a romantic vision; a dream from which we do not wish to wake.