Pop Vinyl 579 Items

"Formed in 1975, Throbbing Gristle, aka Chris Carter, Peter 'Sleazy' Christopherson (1955-2010), Cosey Fanni Tutti, and Genesis Breyer P-Orridge (1950-2020), fully delivered on punk’s failed promise to explore extreme culture as a way of sabotaging systems of control. Their impact on music, culture, and the arts has been immeasurable and still felt today.

Having reformed in 2004, Throbbing Gristle’s The Third Mind Movements initially emerged as an exclusive release only available on the band’s last ever American tour in 2009, before they split again in 2010. The album travels through manipulated, time-stretched, and distorted samples, with rhythmical breakbeats and hypnotic oscillations of electronics.

The Third Mind Movements is released alongside TGCD1 - both vital additions for dedicated Throbbing Gristle and industrial music fans."

Rhino rediscovers the magic of Madonna's "Celebration" album with an upcoming 4LP repress, releasing on 1 March 2024. This album highlights the chart-topping success of Madonna in the UK, offering a carefully curated collection of her greatest hits across four discs. It's a nod to the enduring influence of the Queen of Pop, who recently performed six dates at the O2 for her Celebration world tour.

“Rated R” is the fourth studio album by Barbadian singer Rihanna. It was released on November 2009 by Def Jam Recordings. Recording sessions for the album began in April 2009 and took place at several recording studios throughout United States and Europe. Rihanna together with Antonio "L.A." Reid and The Carter Administration was the executive producer of the album and worked with many record producers, including Chase & Status, StarGate, The-Dream, Ne-Yo, and Brian Kennedy. The record featured several vocalists and instrumentalists, including Young Jeezy, will.i.am, Justin Timberlake and Slash who played the guitars in "Rockstar 101".

Musically, the album represents a departure from her 2007 effort “Good Girl Gone Bad”, which contained up-tempo and ballad-oriented songs. Conceived after Rihanna's assault by her then-boyfriend, singer Chris Brown, “Rated R” features a foreboding and atmospheric tone in terms of musical and lyrical direction. It incorporated elements of hip hop, rock, and dubstep. It also explores other genres, such as dancehall in "Rude Boy" and Latin in "Te Amo". In the United States, the album debuted at number four on the Billboard 200 chart and sold 181,000 copies in its first week. It also attained top ten positions in over twelve other countries.

Eighteen sacred psychedelic suppositories from the laboratory of Mad Scientist and scalpel happy pop mutilator Jean-Pierre Massiera. Including the rarest and most sought after fuzz funk, spooked surf and interplanetary prog from “The French Joe Meek” and all his schizoid split-personalities and freakish friends - The Maledictus Sound, Chico Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus himself.

Let us introduce you to some old friends of ours... Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like we’re flicking through the imaginary LP racks in the record shop from A Clockwork Orange or perhaps congratulating the runners up in a Halloweeen fancy dress competition but for the previously uninitiated you have just been ordained into the congregation of the many split personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the nine headed monster as he mutates and shape-shifts back through time to his humble beginnings in a Buenos Aireian province ravaging and pillaging the music of the European people for his own twisted benediction along the way.

This might, as intended, sound a little bit dramatic but if there is one single ingredient that gives the eccentric JPM his distinct flavour it’s a large dollop of drama. Add sprinklings of szichophrenia, shock, myrth and macabre and you are on the way to a B-movie broth with an acquired taste, that has, like all the best cheese, taken over thirty years to mature to perfection. Like all the best monsters, from the Centaur to the Minotaur to Dr. Jeckyl and Mr. Hyde his split personality is the key to his infamy and the secret of his blood sucking success!

This is why Jean-Pierre Massiera is (un)commonly known for two key periods in his career which, like a worm, can be split down the middle and thrive and flourish independently. To cut a long story short Massiera is, above all, a lover and purveyor of musique fantastique, and is willing and able to hijack whichever stylistic vehicle that passes him buy in order to do feed his lust. In the earlier part of his career he honed his sordid craft amongst psychedelic circles in Nice and Quebec. From late 1972 onwards he moved to Antibes and started a disco revolution and became an in demand cosmic record producer... For years prog rock obsessives and disco aficionados have wondered if there was two unrelated freak merchants called Jean-Pierre Massiera, but, in this rare instance, exploito-maniacs from both sides of the cosmic coin are united by the work of this singular, single handed monstrous music manufactory!

Another way to dissect the Histoire De JPM would read like a fantastic comic book. He started off as a musical scientist who was affected by chemical fallout in World War Two - he spoke to Jesus, went crazy and became a mad scientist. He then created a strain of mutant piranha fish which gave birth to a world of horrific monsters who assisted him in his murderous merriment. In the end he finds a giant egg and finally makes contact with aliens… That would be the end of chapter one and this is the era that we will focus on for this compendium In the worldly, derelict, laboratory of Dr. Jean-Pierre Massiera we are surrounded by decaying fish fins, test tubes, fuzz pedals, echoplex units

Announced in 1981, this is an album produced by Kazuharu Honjo, who disbanded Minoya Central Station and became her first solo return.

An album full of high-quality AOR and pop music written by Yoshiko Miura, composed by Yoshihiro Yonekura, Takeru Sato, Teruo Goto, Mitsuo Hagita, Yasuhiro Abe, and Hirofumi Amami.

“Is the future any brighter? Is the darkness any lighter?

25% of all profits will be donated to sea- watch.org, A non-profit organization that conducts civil search and rescue operations in the Central Mediterranean.

When Molly Nilsson began recording her second album Europa in 2009 the world seemed to be at a turning point and she along with it. In the aftermath of a global financial crash, at the dawn of a new decade, the Stockholm-born, Berlinbased singer was busy moulding her songwriting into an idiocyncratic, personal mythology that would take her to every continent, speaking directly to hearts in every corner of the globe. The first album on her own Dark Skies Association imprint, the first recorded in her home studio The Lighthouse, Europa broke new ground for Molly Nilsson at the time. But also it spoke earnestly to the world about an idealism, an openness and hope that has not dimmed in the 11 years since its release. Europa contains the songs of a young, idealistic songwriter coming to terms with her genius for cutting to the chase, saying it as it is and, most importantly, as it should be. Over 10 years on the artists’ vim and urge for change has only got stronger but here you can see the bright hope begin to dawn. Europa saw Molly Nilsson move away from the minimal primitivism of her debut These Things Take Time and remastered by James Plotkin for it’s 2021 reissue it reveals a growing depth in her songwriting. Opener In The Mood For A Tattoo, with synth overdubs on top of impeccable vocal harmonising, boasts a killer chorus hook before melting into The Revenge Of The Stalker, with its shades of 80s synth pop building layered dynamics out of simplicity. More Certain Than Death is a song of youthful rebellion, even if you didn’t know it at the time, forever searching for a way out of youth while young. Of course now, over a decade since their release, these songs have been canonised in the alternative pop realm like all of Molly Nilsson’s catalogue. The DIY aspect of these recordings may place them firmly in the milieu they first gained popularity – the exploding world of DIY pop, blog-based music discovery and the seemingly endless possibilities of the beginnings of of social media – but Europa’s songs are really made to be sung to and by people, they’re statements of intent, of togetherness and defiance. The album’s title track is a kernel of righteousness, an archetypal Molly Nilsson moment that contains all hope in its fist, which steadily opens outstretched to everyone who listens. Europa was written in 2009 about the ongoing refugee crisis, an open love letter to humanity. “The borders are only lines in the sand, the borders are divided by land (and invented by men.)” Europa praises the idea of people coming together to make things better, to help each other. It’s not about this Europe but the idea of having no borders to imprison people. Think of Europa as an alternate universe, where no one is illegal, but free. It’s heady stuff to sum up in a song but of course Nilsson’s effortless chorus-writing render all these notions and feelings in a few simple words. This is of course her chief talent, whether singing about heartbreak or global financial meltdown and it is in abundance here.