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: 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: ***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: 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: 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.