Review: When Tatsuro Yamashita first released 'Christmas Eve' in 1983, it didn't receive a huge amount of attention. It was only when the track was picked up for an advert in the late 80s that it caught on became a seasonal favourite in Japan, going on to become one of Yamashita's biggest hits. Now it's being repressed in this 40th anniversary commemorative edition right in time for the impending festive season, featuring a bonus version of the B-side version of 'White Christmas' recorded for the Happy Xmas Show. If you want a quintessential ingredient for the Japanese Christmas experience, look no further.
Review: South London singer Lola Young shares the sixth single from her second studio album This Wasn't Meant For You Anyway (2024) on limiited 7" coloured vinyl. A viral moment on TikTok spurred the popularity of this plaintive single, billed by the artist as an "ADHD anthem" and reproof of her last relationship; the lyrics track Young's misgivings about a romance gone sour, critiquing the many contradictory "too"s used to justify a given lover's impropriety: "I'm too messy, I'm too clean... I'm too clever, I'm too dumb... I'm too perfect till I show you that I'm not..." The song is brow-beaten and bluesy, bearing the emotive scars of a fraught time, and perfectly capturing the indie minimality of pop in its ideal incarnation in 2025.
Review: London's singer and songwriter Lola Young (who you may know covered 'Together in Electric Dreams' for the 2021 John Lewis Christmas advert) is back with a limited edition 7" featuring two tracks from her last album This Wasn't Meant For You Anyway back in 2024. First up is 'Conceited' which has a slow motion groove and dumpy kicks with Lola's acrobatic vocals shapeshifting throughout next to bleeping synth sounds. 'Crush' is another stylish vocal delivery with languid indie guitars that bring some sleaze over live drums that build to a raw crescendo before falling away again to reveal Lola's vulnerability lyrics.
When We Die (Can We Still Get High?) (feat Lil Yachty) (5:05)
When We Die (Can We Still Get High?) (acoustic) (4:29)
Review: YUNGBLUD's hook-up with Lil Yachty is renowned amongst fans for its trippy production and tight, evocative, mind-melting bars. It has never before been on vinyl but this year's Record Store Day rights that wrong while serving it up with a superb, exclusive, introspective in-studio acoustic performance of the track. 'When We Die (Can We Still Get High?)' was first released on January 26, 2024 by Locomotion Recordings and Geffen Records and is a new school mix of alternative rock, psychedelia and hip-hop that explores themes of mortality and escapism with production by YUNGBLUD plus Matt Schwartz and Paul Meany. It's an introspective gem.
Review: Tatsuro Yamashita's It's a Poppin' Time is one of the many albums of his that are being reissued right now as part of a campaign focussing don his work for RCA. It arrives on nice heavy 180g vinyl and is the first of two live albums he put out. This one came in 1978 and an expanded remaster came in 2002. At the time he was an already established Japanese singer-songwriter and record producer who had very much helped to define the early city-pop sound that has endured to this day. He dropped a wealth of studio albums from the seventies onwards and as this one shows had more than enough skill to carry that magic over to the live arena.
Review: Jazz and soul flavours from Tatsuro Yamashita, the Japanese guitar megastar whose original covers releases are coveted all over the world. In turn, you reap what you sow; many of his originals are likewise the targets of covers artists, and this isn't the first time we've encountered his song 'Ride On Time'. Yamashita's sixth single, it's a popular myth that the track marked the very beginning of the genre 'city pop'; true or not, the accompanying tracks on this album version are equally as slick.
Review: Acclaimed Japanese producer, singer and songwriter Tatsuro Yamashita is the man credited with laying the early foundations for the city-pop sound. He put out a great run of albums, live albums and compilations and many of them are now being reissued. This one is a great hits collection on heavyweight vinyl that came in 1982 and rounds up the many standout works of his early period. All the tracks have had a fresh mastering job for this release and so classics like 'Sweet & Dangerous Scent', 'Draw Ai Let's Kiss The Sun' and 'The Door Into Summer' all sound as good as ever.
Review: Music On Vinyl are our new best friends. With a wide range of music being reissued as of late, Yello's 1987 One Second is just spoiling us. Never being fully acclaimed when it was originally released, this is one album which really spans the full circle in terms of artistic ideas sonic experimentations. While being tagged primarily as a pop work, it's really more of a lesson in synth manipulations and nutty beat-making. "The Rhythm Divine" has to be out top track but do check the whole thing, it's magnificent...
Review: Yeule (Nat Cmiel) is something of a sonic scrapyard varmint, scouring the lost wastes for augmentable audio parts perhaps useable in their madcap experiments. An avant-garde spin doctor of ash-faced, death-ray-desert-bomb glitch-pop, they've kept their place at the knife-edge of innovation, blending genres and non-genres at the violent vanguard where sounds remain in constant, slipped flux. In the lineage of Machine Girl, ecolagbohrsac2021 or Hakushi Hasegawa, 2022's Glitch Princess laid nutritious ground for Cmiel's now evermore fractious work, Evangelic Girl Is A Gun, which hears the somewhat alter-egoic Yeule now delve into the complexity of a fragmented identity, embracing the duality of light and shadow while echoing surreal animes, such as Serial Experiments Lain and Angel Egg. The LP reimagines Yeule as a haunting figure, exploring ego deaths and transformations in partnership with visual artist Vasso Vu.
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