Review: Lady Gaga’s Bloody Mary, originally from her 2011 album Born This Way, is now available as a stunning glow-in-the-dark 12" single. Co-written and produced by Gaga, this track is a haunting electropop masterpiece. Incorporating elements of synth-pop, trance, and Gregorian chants, Gaga channels Mary Magdalene, a "feminine force" she revered since her Catholic school days. The song’s religious themes and dark, atmospheric production make it one of Gaga’s standout tracks. The limited edition features an etched B-side with pre-chorus lyrics and is housed in a striking picture sleeve. A great looking package for one of her best singles.
Review: Lawson Jr'Music is based in Montreal in Canada and is a drummer, singer and music composer who has played all over the world since a young age. He brings a distinctive Afro vibe to his take on hip hop as demonstrated by this masterful new cut on BSide/Lawson Entertainment. 'Let It Go' is defined by its screwy bass down low and the echoing hits up top. Aside from that I'd an empty but atmospheric cut with yearning vocals and melancholic chords. The flispide instrumental allows the slick production to shine.
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: Now released for the first time on vinyl in the UK, Parisian Nu-Disco sextet L'Imperatrice's 3rd EP Odyssee, released in 2015, was a 6-track journey through the dreamy, vintage sound of French disco-pop. Rereleased and renamed a year later under L'Empereur at a different speed, this gatefold contains the original EP as well as acoustic renditions of five tracks, plus a bonus track in Interlune, a strings piece that flows into the string instrumental of La Lune (Version Acoustique). The smooth bass and layered synth will hook you, but you'll stay for the vocal talents of Flore Benguigui who joined the outlet that same year. Her smooth tones are like melted butter against the bass. Odysee was a bold step for the band - but one that proved wildly successful and was just the beginning of the symphonic formula that L'Imperatrice has continued to refine to this day.
Review: L'Imperatrice's upcoming album Pulsar promises to be a vibrant fusion of funk, disco, pop, and house music, enriched with influences from French house and Italo-disco. The Parisian group show their versatility by incorporating elements of hip-hop, kosmische, and pop into their sonic palette, featuring guest vocalists such as Maggie Rogers, Erick the Architect, and Fabiana Martone, Pulsar promises to deliver a dynamic listening experience. With their infectious energy and innovative sound, L'Imperatrice continues to fascinate audiences, making Pulsar an eagerly anticipated addition to their discography.
Review: La Roux burst into the public consciousness in 2009 with their self-titled debut album. It spoke of a duo who were already fully-formed, capable of writing and recording pristine pop gems to last a lifetime, and now, 13 years later, the proof is there for anyone to hear. Whether you're a Netflix surfer or spend all your time online, you will have heard at least four of the songs from this album being rinsed across advertising, TV and film. 'In For The Kill' is the consummate breakthrough single, instantly memorable and steeped in emotional heft, while 'Bulletproof' continues to be a rallying cry of empowerment. Relive this invincible album from start to finish thanks to a reissue from UMC.
Review: LSD’s Remixes EP channels the group’s genre-blurring ethos into a collection that thrives on reinvention. Lil Wayne’s charged verse on ‘Genius’ adds grit without overshadowing the original’s playful intensity. MK’s remix of ‘Thunderclouds’ transforms its soaring vocals into a deep house anthem, all pulsing bass and late-night allure. Banx & Ranx’s reggae-infused take on ‘Genius’ radiates sun-soaked warmth, while Dombresky’s remix of ‘No New Friends’ packs a punch with relentless house energy. CID’s rework of ‘Audio’ dials up crisp, percussive beats that slice through its melodic core. Meanwhile, The Aston Shuffle injects ‘Heaven Can Wait’ with shimmering synth layers, balancing nostalgia with dancefloor readiness. Lost Frequencies’ remix of ‘Thunderclouds’ closes the record on a euphoric high, reframing its introspection with bright, festival-ready optimism. This is LSD’s universe expanded — familiar yet thrillingly unpredictable.
Review: Many critics have dubbed Lady Gaga's Mayhem, the superstar's latest full-length excursion, as a return to her pop roots - not to mention her strongest and most coherent set since breakthrough album Fame. Recorded at Rick Rubin's studio with the help of a crack team of producers, the assembled songs variously draw on synth-pop, EDM style pop-house, gritty industrial funk, the gnarled strut of electroclash and, perhaps more surprisingly, guitar-driven alt-rock. Naturally, Gaga is in fine form throughout, sassily and confidently delivering lyrics that muse on "love, chaos, fame and desire". This Japanese CD edition comes bundled with an art card, stickers and an expansive booklet.
Review: Harlequin, Lady Gaga's latest project, marks yet another bold and triumphant return for the pop icon. Initially seeming like an unusual conceptia Joker-inspired album with swingy jazz and American songbook classicsiit surprisingly works, showcasing Gaga's signature playful and bold artistry. The album's vibrant opener, 'Good Morning,' kicks off with big energy, while 'Oh, When the Saints' spirals into delicious chaos. Her potent vocal delivery paired with electrifying instrumentals means this is an album full of spark and even quieter tracks like 'Smile' and the original title cut form the movie 'Folie a Deux' reveal deep emotional sincerity. Harlequin is a playful and unapologetic work that proves Gaga is in fine form.
Review: Lady Gaga's brand new album Mayhem documents yet another modification in look and feel for today's North Star of pop music: the 'Bad Romance' conquistador has described her latest record as "utter chaos", fusing influences from 90s alt-rock, electro-grunge, Prince and Bowie-esque melodies, funk, French electro-house, and analog synths. Headed up by the lead single 'Disease', Gaga's visually striking yet newly gothicized turn is quite unsettling, offering a fresh "era" in the pop pantomorph's approach, which invites comparisons to Taylor Swift and David Bowie, yet more latexy.
Review: This record marks a bold return to Lady Gaga's pop roots. It fuses the eclectic energy that first captivated her fans with a new and ever-fearless artistic vision that means she delves into themes of chaos and transformation while celebrating music's ability to unite, provoke and heal. Gaga has said that the album began as a response to her fear of returning to the pop sound her early fans loved. Far from merely nostalgic, Mayhem reinvents her signature style with a kaleidoscopic approach by drawing from her broad musical influences. Gaga compared the creative process to "reassembling a shattered mirror," and has created something beautifully new from the pieces.
Review: Lany frontman Paul Klein leave us in precious little doubt there that he's lovelorn - almost every song on this self-titled record bemoans some melancholic development in his romantic life, set to a cinematic soundscape that's equally beholden to the synth-starred soundscapes of the '80s and modern R&B. Luckily for all and sundry however, these plaintive and potent laments find a way to alchemically transform base angst into audial gold, arriving on a cinematic plateau in which the dislocation of the modern era is subverted to form a bittersweet party soundtrack looking likely to last the remaining days of summer at the very least.
Review: A Beautiful Blur is the fifth studio album from LANY but it is their first without founding member and keyboardist Les Priest, who left the band in 2022. This new era was announced a year ago and was ushered in with four singles including 'Congrats,' 'Love At First Fight', 'Alonica' and 'XXL' which all built anticipation for the album. They are included here with all new tracks that show how the band has evolved with its new lineup but also managed to stay true to the roots of their signature sound.
Review: Returning after a veritable splash in the chart-topping world of pop nearly ten years ago - and having laid down three full studio albums already - Zara Larsson fleshes out her brand evermore with the upcoming fourth LP, Venus. In keeping with a full Larsson coming-of-age, the Swedish it-girl fulfils her promise of an album chock-full of "uptempo, fun dance songs", albeit with an glitzier edge, and the sound of an artist assuming more ownership over her output, centring on the theme of feminine autonomy in the form of tracks like 'Can't Tame Her' and 'On My Love' with David Guetta. She's come a long, long way from 'Lush Life', exploring a multi-temporal brand of electronic pop and reclaiming her place in the limelight.
Girlfriend (The Submarines Time Warp '66 mix - English) (3:09)
Girlfriend (Dr Luke mix) (3:26)
Review: Avril Lavigne's The Best Damn Thing marked a return to her pop-punk roots when it dropped in 2007, shedding the sombre tones of her previous album, Under My Skin. Embracing an unapologetically energetic and bubblegum sound, Lavigne delivers an album filled with catchy, anthemic tracks. The lead single, 'Girlfriend,' with its infectious hook borrowed from Toni Basil's 'Mickey,' sets the tone for a record bursting with potential hits. Songs like 'I Can Do Better,' 'Everything Back But You' and the title track showcase Lavigne's knack for crafting empowering, high-energy anthems. The Best Damn Thing proves Lavigne's ability to navigate pop-punk territory with confidence, ensuring her place as a standout in the genre - fans of early Sum 41 and Pink will find much to love here.
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