Belvedere Kane is the project of producer and songwriter Barry Stone, whose 1996 single *Never Felt As Good* was hailed by Pop Justice as "one of the twenty best singles of the 1990s". Despite the acclaim, it failed to trouble the charts and has since attained cult classic status.

The album intended to follow was shelved, but as the 30th anniversary of the single approached, Stone revisited the recordings and rediscovered his affection for the project. Reflecting on the process, he said, "I remembered how much these songs had meant to me", describing the completion of the album as "a bit like writing a love letter to my younger self." Listening to the finished record, it's easy to understand why he felt compelled to finally bring these songs into the world.

The album opens with "Legends (Forever Young)" and there's no denying the Dead or Alive influence, hardly surprising given that they actually feature on the track. It's everything you could want from an opening statement, glitz, glamour and a full-on assault on the senses. The song practically demands movement, powered by an irresistible energy that never lets up. I particularly enjoyed the smattering of sultry French dialogue woven throughout, which adds another layer of texture and sophistication. Simply put, this is an all-out pop banger.

"Never Felt As Good" is the previously mentioned single, presented here in its Kobold Album version. At first I thought it didn't ring any bells, but as it unfolded I couldn't help being reminded briefly of Cutting Crew's "I Just Died in Your Arms". The comparison is fleeting though, as the song quickly establishes its own identity. What remains undeniable is just how infectious it is. Whether I genuinely remembered hearing it all those years ago or was simply responding to the familiar sound of the era is difficult to say, but either way it feels strangely familiar in the best possible way.

You can't help but immediately recognise the classic 80s and 90s synth sounds that dominate "Getting Away with Murder". It's like opening a musical time capsule and being hit by a wave of nostalgia. I'm by no means a disco-pop aficionado, but there's no denying that this is expertly crafted pop music. The hooks are strong, the production is polished, and it captures the spirit of the era perfectly.

There's a brief respite with "Magazines". It's a pleasant enough track, but following such a strong opening run it feels more like a transition piece than a standout moment in its own right. That's perhaps a little unfair, because taken on its own merits it's perfectly enjoyable, but it lacks the spark and immediacy of the songs surrounding it.

The same certainly can't be said for "I Want You I Want You", which immediately restores that sense of excitement. Given the period these songs originate from, it's unsurprising that traces of other artists emerge throughout. For me, I could hear hints of Madonna's "Material Girl" alongside shades of ABBA's "SOS". That doesn't make this a derivative work, far from it. Rather, it wears its influences proudly while still sounding distinctly like Belvedere Kane.

We get a welcome change of pace with "Sleeping Dogs", but unlike "Magazines", this slower tempo feels completely integral to the album's flow. It's a slow-burn synth-pop gem, rich in atmosphere and layered textures. The production is particularly impressive here, creating a soundscape that feels wonderfully immersive, especially when experienced through headphones.

Then come the sweeping synth strings and infectious beat of "Such Trying Times", which feels steeped in classic Euro-pop sensibilities. Listening to it, I could almost imagine myself transported back to an 80s holiday resort in Benidorm. Mm, not sure if that's a good or a bad thing, but that's no fault of the music. Either way the song captures that carefree, larger-than-life spirit beautifully.

"Could This Be Love" is perhaps where my own enthusiasm starts to wane slightly, although I suspect that's more a reflection of my personal tastes than any shortcomings in the song itself. It's another well-crafted track, packed with a driving beat and plenty of synth-pop charm, but by this point some of the stylistic similarities between songs begin to blur together. Fans of the genre will likely find plenty to enjoy, even if I found my attention drifting a little.

I can't deny that when "Isabelle Rossellini" appeared on the track listing, my ears immediately pricked up, largely because it's a name I recognised. The song itself possesses a warmth and charm that's difficult to define. There's something quietly endearing about it that goes beyond the title alone, and it gradually works its way under your skin.

Musically, "Never Said Goodbye" has all the hallmarks of a song that could feature during the closing moments of a John Hughes film. It's the soundtrack to a resolution, the moment where all the threads finally come together. Neither a full-on anthem nor a ballad, it occupies a sweet spot between the two, and for reasons I can't entirely explain, it's one of the songs that resonated with me most strongly.

The album closes with "We're Not Lovers", opening with sweeping synths before diving headlong back into those glorious 80s and 90s sounds. It immediately sparked memories of *Top of the Pops* and that iconic countdown sequence soundtracked by Thin Lizzy's "Yellow Pearl". It's a fitting finale, ending the album with the same energy and confidence with which it began.

This isn't a genre I listen to regularly. My connection to it comes largely from having lived through the era rather than actively seeking it out today. That said, it's impossible to deny the sheer joy contained within these songs. They're playful, infectious and endlessly entertaining. There were moments where I found the relentless energy a little overwhelming, but that's very much a reflection of my own listening habits rather than any flaw in the album itself. Ultimately, this lost pop record finally gets the chance it deserved, and the result is nothing short of brilliant.