Back catalogue: Pop

Review: American superstar The Weeknd really went big with the guests on 'Popular', his dynamic r&b and pop hit from 2011, by enlisting none other than Madonna and Playboy Carti. As a breakout hit from his mixtape era, it showcases his seductive charm and magnetic presence, drawing listeners into his world of late-night escapades and hedonistic pleasures with infectious beats and smooth vocals that exude confidence and swagger and set the stage for his meteoric rise to fame and influence in the years to come. Flip it over and on the back of this Kiss Classics 7" you will find the equally effective 'Starboy' featuring Daft Punk.

Review: The Weeknd's latest project continues to push boundaries, but it's the quieter moments that really leave a mark. Take 'Dancing in the Flames'iit starts with muted synths, almost tentative, like something trying to find its footing, before blossoming into a dense, emotionally charged soundscape. Tesfaye's falsetto feels particularly vulnerable here, a perfect match for lyrics that seem to teeter between hope and resignation. On 'Timeless (feat Playboi Carti),' the mood shifts entirely. Carti's jagged verses cut through the lush production, creating a tension that makes the track feel alive and unpredictable. And then there's 'Sao Paulo (feat Anitta),' which bursts out with a vibrancy that feels like a releaseia rare moment of pure celebration. Overall, the album's impact lies in its restraint, in the contrasts and the spaces between moods where it truly resonates.

Review: Natalie Mering's Weyes Blood project is 12 years deep now, and she follows up on 2019's Titanic Rising with this, her fourth studio album. Her sound evolves in kind over this time from the DIY roots of her appearances on Not Not Fun et al, and now she strikes the figure of an eternal songstress joining the dots from classic 70s composition and production through to the aching, head-fogged reflection of the modern condition. Lead single 'It's Not Just Me, It's Everybody' nails the mood of malaise, but the beauty of her songwriting leads and saves us from slipping into despair. Why not commit to the concept and cop this, the limited Loser Edition of And In The Darkness, Hearts Aglow.

Review: Well, there are no prizes for geeing what this one is about - it is a collection of classy and authentic roots, reggae and lover's rock versions of all the tunes from Amy Whinehouse's seminal Back to Black album. Importantly, the voice of the late, great jazz singer herself is left in place and it is just the music that's replayed by a selection of people - who do a fine job. Interestingly, the sounds all sound as good as the originals despite the stylistic departure, making this a great addition to the shelves for anyone who fancies hearing Winehouse in a new context.

Review: Unplugged & Electrified is a poignant compilation that showcases the unforgettable live performances of Amy Winehouse, capturing her unique artistry and raw emotional power. Spanning tracks from intimate sessions like 'Back to Black' and 'Rehab', recorded during her Unplugged performance at The Orange Lounge in May 2007, the album highlights her ability to convey vulnerability through soulful delivery. The collection features electrifying moments from Jools Holland's Hootenanny, including collaborative renditions of classics like 'I Heard It Through The Grapevine' and 'Mighty Quinn', where her dynamic vocal prowess shines alongside esteemed musicians. Tracks such as 'Valerie' and 'Some Unholy War' present alternate versions, enriching the listening experience with fresh interpretations. From heartfelt ballads like 'Love Is A Losing Game' to spirited performances of 'Cherry' and 'You Know I'm No Good'. the compilation encapsulates the essence of Winehouse's artistry. Overall, Unplugged & Electrified serves as a celebration of her talent, providing fans with a comprehensive glimpse into her most cherished live moments.