Freaks R Us 黑胶唱片和CD

Review: Incredibly, 'Honeymoon On Mars' is only the fourth studio album to be released by The Pop Group in a career that's stretched on and off across five decades, and it both sees links with their past and a bold vision for the future. Produced by the dream team of Dennis Bovell (the reggae legend who helmed their first album 'Y' in 1979) and Public Enemy's exemplary noise assassin Hank Shocklee, it's an explosion of sound that defies genre at every turn in a vicious attack on modern-day conformity and inertia. Iconoclasts to the last, Mark Stewart and company's ire has never burned brighter than it does in this increasingly complicated age.

Review: Incredibly, 'Honeymoon On Mars' is only the fourth studio album to be released by The Pop Group in a career that's stretched on and off across five decades, and it both sees links with their past and a bold vision for the future. Produced by the dream team of Dennis Bovell (the reggae legend who helmed their first album 'Y' in 1979) and Public Enemy's exemplary noise assassin Hank Shocklee, it's an explosion of sound that defies genre at every turn in a vicious attack on modern-day conformity and inertia. Iconoclasts to the last, Mark Stewart and company's ire has never burned brighter than it does in this increasingly complicated age.

Review: Incredibly, 'Honeymoon On Mars' is only the fourth studio album to be released by The Pop Group in a career that's stretched on and off across five decades, and it both sees links with their past and a bold vision for the future. Produced by the dream team of Dennis Bovell (the reggae legend who helmed their first album 'Y' in 1979) and Public Enemy's exemplary noise assassin Hank Shocklee, it's an explosion of sound that defies genre at every turn in a vicious attack on modern-day conformity and inertia. Iconoclasts to the last, Mark Stewart and company's ire has never burned brighter than it does in this increasingly complicated age.

Review: In a late-'70s and early-'80s scene plagued by one too many posturing punks and bandwagon-jumpers, The Pop Group hit like a molotov cocktail - here was a band taking the righteous ire and anti-establishment fury of the era, yet one without musical boundaries, taking in jazz, funk and primitive noise to make a seeting cauldron of blissful rage. These previously unreleased recordings capture the band at the absolute peak of their powers, arrive alongside film footage shot by Don Letts, and sound as much of a throwing down of the gauntlet today as they did then.

Review: In a late-'70s and early-'80s scene plagued by one too many posturing punks and bandwagon-jumpers, The Pop Group hit like a molotov cocktail - here was a band taking the righteous ire and anti-establishment fury of the era, yet one without musical boundaries, taking in jazz, funk and primitive noise to make a seeting cauldron of blissful rage. These previously unreleased recordings capture the band at the absolute peak of their powers, arrive alongside film footage shot by Don Letts, and sound as much of a throwing down of the gauntlet today as they did then.