Polydor レコード& CD

Review: Gracie Abrams returns with the deluxe edition of her sophomore album The Secret of Us (Deluxe), released via Interscope Records, now available on a special "moonlight" 2xLP vinyl. This release is her most expansive work yet, both sonically and narratively. Adding fan favourites like 'That's So True' and 'I Love You, I'm Sorry (Live From Vevo)' to the 20-track project, Abrams showcases her growth as a songwriter and vocalist. Collaborating again with Aaron Dessner and her best friend Audrey Hobert, the album captures the urgency and raw emotion of her live experiences over the past year.

Review: Sabrina Carpenter's sixth studio album Short N Sweet defines an era, triply word-playing on the briefness of her first romances, media runtimes, and the artist's height. Exploring the Gen Z icon's love life and perspectives on 2020s dating, the title refers to Carpenter's shortest ever romantic relationship, as she endeavours to honour the validity of said encounter in a glacial climate of a staid romantic culture that emphasises long-termism as the only possible form of true love. And yet despite the imaginary spirit of carefreeness, Carpenter's lyrics are pretty pessimistic if you listen past the poppified blitz of sound: the sense is that generations of lovers have failed to account for the true polyvalence of love, where even the shortest of encounters can engender the worst of heartbreaks.

Review: More Chaos marks American rapper and record producer Ken's fourth studio album and shows a bold evolution of the distinct style he introduced on A Great Chaos. A pure solo effort with no guest features, the record sharpens his voice both lyrically and sonically and the production is handled exclusively by a close-knit circle of trusted collaborators, all of whom he's cultivated and refined across previous projects, and who give the album a cohesive, focused energy. With More Chaos, Ken expands the emotional and sonic range of what he's done before while staying true to the intensity that first defined his work. It's a sharpened vision well worth tuning into.

Review: This live album captures the raw energy and emotional depth of a legendary goth band's performance, showcasing their latest work in its full, unfiltered glory to an intimate crowd (albeit with a massive global streaming audience). Debuting the entire new album for the first time to an eager London crowd, the band delivers a powerful, immersive experience. Tracks like 'Alone' and 'End Song' stand out as some of the most hauntingly beautiful and intense pieces in the band's catalogue, with the live setting amplifying their emotional weight. The band's iconic sound, a blend of atmospheric melancholy and brooding intensity, resonates deeply, drawing the audience into every note and lyric. The live rendition of these songs adds a new layer, with the crowd's energy and the band's commanding performance elevating the material. Since its release, the accompanying live album has been met with widespread acclaim, charting in the top five across numerous countries, proving that the band's impact remains as potent as ever.

Review: A four sided selection of remixes of the goth kingpins' widely acclaimed and long awaited latest album Songs of a Lost World. From the moment Paul Oakenfold's 'I Can Never Say Goodbye' rework opens proceedings i lush strings, half-submerged vocals, and a cinematic pace i it's clear that curation, not just contribution, has shaped the form. Orbital turn 'Endsong' into a glistening spiral of sequencers and tension, while Sally C's raw house take on 'A Fragile Thing' ups the pulse without disturbing the gloom. Smith i still unmistakably the same outsider from Crawley, West Sussex i guides things with restraint, letting the space speak louder than the noise. Four Tet's version of 'Alone' closes the first disc like a forgotten lullaby, cracked and glinting. You don't get every remix i the more textural, post-rock turns are gone i but you do get a sharp cross-section that keeps faith with both atmosphere and momentum. It's the kind of record that feels designed for the night: not to lift it, exactly, but to sink into it willingly, track by track.

Review: Following her weekly Swamp Sessions on YouTube - in which the rapper demonstrated her biting bars against eye-catching, patinated visuals - came the third mixtape from Doechii, now released on vinyl. The album's name suggested unwound hurt, marked by the caiman power of a perfidious love interest, whose bite has indeed left its mark. Philosophical, penumbral yet still lively in spirit, the American artist spans a variety of hip-hop styles here, with 'Denial Is A River' serving her ex a "gotcha" in thickly laid bars and booming beats, and 'Nissan Altima' bringing further skeeting rhythms and autofire bars, which order her male competitors to bow down, as the claim is laid to the crown of new hip-hop Madonna.

Review: Elmiene's latest offering presents a smooth, immersive listen, blending soulful electronics with subtle, emotive melodies. Opening with the tender 'TLC,' the release quickly establishes its intimate mood, which is carried through tracks like the lush 'Light Work.' 'Crystal Tears' shifts to a more ambient space, while 'Ode To Win' builds a contemplative, understated momentum. The release really comes alive on the second side with 'Sweetness' and 'Until It's Dust,' where the production deepens into something atmospheric and hypnotic. 'Dark Out (Season of Thieves)' adds a touch of brooding intensity, and 'Anyways' closes on a contemplative note.

Review: The new candidate for the nicest guy in rock, Sam Fender has built a reputation for writing about touching subjects. And his new album, produced by none other than The War On Drugs' Adam Granduciel, doubles down on that approach. The chamber rock ballad 'Remember My Name' is written from the perspective of his late grandad, nursing his grandmother, who was suffering with dementia. It's a real tear-jerker thanks to the ornamentation in the arrangement and Fender's soaring vocals. The title-track is a another stand-out here and much more upbeat - like light and day compared with the harrowing feel of 'Remember My Name'. You can hear Adam Granduciel's influence here and in some ways, it sounds like a sequel to The War On Drugs' 'Under The Pressure', which is no bad thing.

Review: In today's all-go culture, quitting is frowned upon. Ironically, the new 15-track rock-leaning album from Haim, produced by Danielle Haim and Rostam Batmanglij, hardly hears so much a scrap of towel thrown in. It follows a reconvening by the trio in early 2023, and a nudging hint via social media at an upcoming Jai Paul collab. Alana Haim described this record as "the closest (they) have ever gotten to how (they) wanted to sound," marking a notable shift from their previous work. Paul Thomas Anderson returns to shoot the album cover, continuing his creative partnership with the band after Alana starred in his most seventies teen drama Licorice Pizza.

Review: Since forming more than ten years ago, Inhaler have exceeded all expectations and proven they're among the very best indie rock outfits touring today. They have shaken the nepo baby tag (singer Elijah Hewson is Bono's son) and earned fans' understanding that they're at the forefront of the industry on merit. They have a huge following in their hometown Dublin, where they are set to headline a 20,000 capacity show, and are filling out top venues all over the globe. With this ambitious new album, their live shows look certain to hit new heights. Single 'Your House' is a highlight as it channels the rabble-rousing atmosphere of DFA records legends LCD Soundsystem in the verses, meanwhile stunning gospel harmonies provide spine-tingling backing to Hewson's singing. It's their third album and, perhaps driven by the desire to push themselves, it shows the band run the gamut of pop whilst keeping their indie rock DNA firmly intact - a sparkling addition to the Inhaler oeuvre.

Review: ***B-STOCK: Sleeve split at the top but otherwise in excellent condition***


One of UK soul's brightest sparks and Danger Mouse on production: Michael Kiwanuka's highly anticipated sophomore takes a running jump and kicks the Motowns out of the difficult second album cliche. Ranging from epic urgent cinematica "Rule The World" to the smouldering blues ballad "The Final Frame" by way of ELO-meets-Finlay Quaye fuzzy rock funk "One More Night" Michael and Mouse take us through a detailed, dreamy and dramatic adventure that really explores Michael's gutsy range and developed writing style. On level, if not better, than Home Again.

Review: ***B-STOCK: Sleeve damaged (slight split at the top, dinked corners) but otherwise in excellent condition***


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: 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: Perhaps the most striking moment on Kendrick Lamar's GNX comes early, with 'Squabble Up.' Opening on a sparse beat laced with an almost claustrophobic bassline, the track bursts into intricate lyricism, with Lamar delivering rapid-fire verses that bristle with urgency. It's an audacious statement that sets the tone for the album: introspection wrapped in cinematic production. Then there's 'Heart Pt. 6,' a deeply layered piece where ghostly synths and rolling drums frame Lamar's contemplations on legacy, loss, and identity. The interplay of Lamar's voice, alternately tender and defiant, with the productionicourtesy of Sounwave and Kamasi Washingtoniis nothing short of riveting. GNX doesn't provide easy answers; instead, it invites you to sit with its questions, its moments of chaos and its flashes of hard-won clarity.

Review: Rebecca Lucy Taylor blows stormy second wind our way with A Complicated Woman, her first full-length release as Self Esteem since the critically lauded Prioritise Pleasure. The record finds Taylor, who cut her teeth with Sheffield indie hopefuls The Slow Club, expanding her signature lyrical honesty and emotional intelligence over an increasingly vivid, ambitious landscape, convoking a potent collective of mostly female voices: friends, bandmates, and collaborators Nadine Shah, Moonchild Sanelly, Sue Tompkins, drag queen Meatball and actor Julie Hesmondhalgh all feature. Recalibrating the well-worn trope of female hysteria in indie rock terms, lead single 'Focus Is Power' channels a mantra first scribbled on a sticker in her parents' shed during lockdown into a full-bodied affirmation of self-worth, echoed by a moving choir and a communal performance in its accompanying video.

Review: The latest project of the singer Rebecca Lucy Taylor, who cur her teeth on the Sheffield musioc scene before heading south, sees her continuing to evolve her sharp, emotionally honest brand of pop. This album leans further into lush, layered production while keeping the confessional, anthemic spirit that made her previous work resonate so deeply. Tracks like 'Big Man' explode with bold rhythms and crisp, shimmering synths, pairing vulnerability with fierce, almost theatrical energy. Meanwhile, 'Love Second' rides a smoother, soulful groove, highlighting Taylor's ability to balance playfulness and pain within the same breath. Her vocal performances are even more dynamic here i full of defiant strength one moment and tender intimacy the next. 'Insert Girl' and 'Hard To Love' deliver some of the album's most affecting moments, weaving percussive pop beats with lyrical reflections on identity, expectation and resilience. There's an undeniable polish across A Complicated Woman, but it never feels cold; instead, the production wraps around Taylor's words like a protective armor. Brief but potent interludes and clever lyrical turns keep the album moving with a strong narrative flow. A Complicated Woman feels like both a natural continuation and a bold new chapter for Self Esteem i pop music that's brave, bruised and utterly alive.

Review: Steely Dan's Katy Lied, released in 1975, marks a pivotal point in the band's trajectory. Known for their meticulous approach to recording and their increasingly complex fusion of rock and jazz, the album sits at the crossroads of their evolution, representing both the height of their creative powers and the growing dissatisfaction of Walter Becker and Donald Fagen with their work. This album sees Steely Dan's transition from a traditional rock band to a more sophisticated, jazz-inflected studio project. The departure of guitarist Jeff "Skunk" Baxter, and their decision to stop touring, freed Becker and Fagen to focus entirely on studio work. Without the need to accommodate a touring lineup, Katy Lied became a playground for an array of top-tier session musicians, including drummer Jeff Porcaro and vocalist Michael McDonald, who would go on to define yacht rock's lush sound. The album's opening track, 'Black Friday', encapsulates Steely Dan's knack for blending lyrical wit with biting social commentary. It's a jaunty rock tune about apocalyptic scenarios and cashing in on chaos, with Fagen's sly delivery making it unclear whether he's advocating rebellion or simply observing it with a smirk. This tension between cool detachment and grim humor runs throughout Katy Lied, lending the album its disorienting charm. Tracks like 'Bad Sneakers' and 'Doctor Wu' mix cryptic narratives with immaculate musicianship. 'Doctor Wu', one of Steely Dan's most beloved tracks, balances between a love triangle and drug addiction with a saxophone solo from jazz great Phil Woods that ties the song's knot of ambiguity into a gorgeous, bittersweet bow. While Katy Lied features some of Steely Dan's most intricate compositions, it also hints at the moral ambiguity that would become a hallmark of their later albums. Katy Lied holds up as one of Steely Dan's most interesting records, a liminal album that bridges the gap between the rockier early years and the slick perfectionism of later efforts like Aja and Gaucho. It captures Becker and Fagen still in the process of refining their vision, grappling with the frustrations of the studio, but channeling that tension into songs that remain sharp, enigmatic and unflinchingly human.