Category: Reviews

The post-rock icons’ only chart-topping and most vocal album typifies the unique sound they’ve chiselled away at during their career, but have sculpted it for the arenas they now occupy.

Claud’s debut full-length on Phoebe Bridgers’ Saddest Factory Records glimmers with nostalgia and intimacy. It’s easy on the ear and heavy on the heart, in the best way possible.

slowthai makes it clear that TYRON is a redemptive study of self, but this album of two conflicting sides lacks the urgency of his debut, nor is it a focused enough commitment to the idea of self-examination.

Ambitious and inventive, the seven-piece’s debut album only hints at their lofty potential.

A fast-paced affair, the Hull post-punk’s latest effort is an active reflection of the world that surrounds them, dealt with a welcome dose of venom.

Exerting her authority and talent as a songwriter, ‘Hardline’ is the kind of track that will one day find Julien Baker in an arena of thousands of fans in a crowd screaming her own lyrics back at her.

There’s something sunnily contemplative about the Brooklyn duo’s latest single, reminding us to keep it “bright, bright, bright” in a mantra-like way despite our old lives become more and more vague.

Yes, Kieran Hebden (aka Four Tet) has an important role to play, but Sound Ancestors is not a collaborative project in the traditional sense. It is very much Madlib’s work brought into focus by Hebden’s curation, reflecting Madlib’s talent across various styles, and as the album’s title would suggest, the genres that have shaped him.

It can be far too easy for any reviewer to trip over themselves in pretense and obsequiousness as they dissect FKA twigs’ artistry, but her new single is an uncharacteristically straightforward affair.

Where Norman Fucking Rockwell! sounded like a dying bugle call for the ‘American Dream’, ‘Chemtrails over the Country Club’ feels like Del Rey now wants to desperately clutch on to that forgotten world of innocence, suburbia, and naivety.