Back catalogue: All genres

Review: Short n' sweet is perhaps the prevalent ideal of pop music today. Sabrina Carpenter's nectarous new record is a delightfully brief pick-me-up, one that nails the style. Described as a "pocket-sized popstar with a larger-than-life artistic presence" by Polydor, Carpenter's depiction as an idol of convenience and portability feels apt for today's always-on, attention-frazzling zeitgeist. Quick songwriterly syrups brightened-to-perfection productions help Carpenter trade in themes of youthful exuberance and glib spirit, as echoes of country music efflux through trap and ratchet pop; a quick rinse-off in an infinity pool of post-Taylor-Swift gloss. Titles like 'Sharpest Tool', 'Espresso', '15 Minutes' and 'Bed Chem' all seem to affirm the record's effective immediacy: and Carpenter owns the stimulant shot, as she taunts a romantic rival: "you'll just have to taste me me when he's kissing you..."

Review: Sabrina Carpenter's latest release offers a mix of catchy pop melodies and introspective lyrics, perfectly captured on this limited edition olive green vinyl LP. Each track feels like a personal reflection, blending playful pop elements with deeper emotional moments. Carpenter's vocals transition effortlessly from light-hearted to deeply resonant, mirroring the complexities of self-discovery and relationships. With its honest lyricism and vibrant production, the album presents a refreshing take on pop. The indie-exclusive edition comes with a postcard, making it a must-have for collectors and fans who appreciate a blend of engaging music and tangible, personal touches.

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: Lloyd Cole & The Commotions - Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine - were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University. A paragon of 'well-read pop music', this might be considered an form of art pop, being the debut that cemented Cole's intellectual reputation, and perhaps a prototype of the popular 'softboy' trope from the early 80s. Crisp soft proto-indie rock and haunting, near gothic synths underlie hits such as 'Forest Fire', sure to rouse emotions even in the coldest and most book-shy of listeners.

Review: After a 16-year hiatus since 4:13 Dream, The Cure returns with the anticipated Songs Of A Lost World. The first single, 'Alone', marks a powerful resurgence for the band. Unlike the somewhat unfocused production of their last album, 'Alone' brings back the bold, expansive sound fans have longed for. It's a stunning track, filled with emotional depth and lush instrumentation, blending synth strings with chiming guitars. Robert Smith's voice remains as poignant and expressive as ever, defying time with its raw, emotive power. The song feels like both a return to form and a bittersweet farewell, hinting that this may be the band's swansong, while the five album songs trailed live in recent years, as swansongs go this is a hugely impressive one.

Review: Songs Of A Lost World is Robert Smith and co's first studio record since 2008. In the lead-up to the release, the band dropped cryptic social media hints, mailed postcards revealing the album's title and release date, and even placed a poster at the pub where they played their first show in Crawley. Recorded at Rockfield Studios in Wales, this album is the band's 14th, featuring the core lineup of Robert Smith, Simon Gallup, Jason Cooper, Roger O'Donnell, and Reeves Gabrels. Smith, together with producer Paul Corkett, oversaw the arrangements, while long-time collaborator Andy Vella designed the album's artwork, which showcases Janez Pirnat's 1975 sculpture Bagatelle. Smith has stressed that identifying the opening and closing songs is crucial for the album's development. A record that digs deep into darker, more personal themes, echoing the intensity of their earlier work, the release also includes two live tracks, 'And Nothing Is Forever' and 'I Can Never Say Goodbye', from their Shows Of A Lost World tour.

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.