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Bonobo - Fragments (Album Review)

It’s hard to distinguish the exact purpose of Bonobo's music. Often inspired by a sense of place, the producer’s typically meditative tracks could, on one hand, soundtrack a wistful gaze into the sunset. On the other, they might be a good fit for a psychedelic rave. Simon Green’s seventh album under the moniker does little to solve this problem.

Written by: Alex Myles | Date: Friday, 21 January 2022

Elvis Costello

Elvis Costello - The Boy Named If (Album Review)

Elvis Costello’s 32nd studio album is great: a spiky, literate five course meal of a record created over the tail end (we hope) of lockdown with longtime bandmates Pete Thomas (drums), Steve Nieve (keys) and a relative newcomer in Davey Faragher (bass). It demonstrates the ongoing imagination, hunger and skill of the English songwriter, who at 67 continues adding to a rich catalogue of intelligent, storied, genre-defying pop music.

Written by: Jacob Brookman | Date: Thursday, 20 January 2022

Earl Sweatshirt

Earl Sweatshirt - Sick! (Album Review)

Photo: Ryosuke Tanzawa The push-pull at the heart of Earl Sweatshirt’s writing is between its introspection—his shelter-in-place life analysis—and its shapeshifting musical priorities. It’s a dynamic that he’s consistently able to make work for him, with any friction turned into creative fuel.

Written by: Huw Baines | Date: Wednesday, 19 January 2022

Blood Red Shoes

Blood Red Shoes - Ghosts On Tape (Album Review)

On their sixth album, Blood Red Shoes are out to seduce. Shedding their skin, they’ve concocted a dark, twisted electro-rock drama of a record, inspired by the worlds of true crime and murder podcasts.

Written by: Emma Wilkes | Date: Tuesday, 18 January 2022

Cat Power

Cat Power - Covers (Album Review)

Cat Power possesses a rare talent: the ability to turn the everyday and ordinary into something extraordinary. It’s something that has been captured by her own original works, through her keen songwriting hand, but it’s particularly apparent in her growing collection of cover records.

Written by: Rebecca Llewellyn | Date: Monday, 17 January 2022

The Weeknd

The Weeknd - Dawn FM (Album Review)

The Weeknd’s ‘Dawn FM’ has arrived with little fanfare. An announcement almost out of nowhere, following up scattered hints, set in motion a short run of excitement but, in truth, The Weeknd doesn’t need to pull out all the promotional stops when he’s made one of his best records to date. The songs speak for themselves.

Written by: Matty Pywell | Date: Wednesday, 12 January 2022

Tom Morello

Tom Morello - The Atlas Underground Flood (Album Review)

Photo: Travis Shinn Tom Morello has barely left his listeners any time to catch their breath since he last released new music. Inspired by the Clash’s double album ‘London Calling’, the Rage Against The Machine guitarist has pulled another 12 collaborations out of his hat a mere six weeks after the release of the sprawling ‘The Atlas Underground Fire’.

Written by: Emma Wilkes | Date: Wednesday, 15 December 2021


Arca - KICK ii, KicK iii, kick iiii, kiCK iiiii (Album Review)

Following her 2020 musical grenade, ‘KiCk i’, alternative electro producer Arca has released a cycle of four albums in quick succession, deploying a panoply of genres, vibes and sound design with devastating effect. The result is one part thrash-electro gig, one part gothic art installation that takes us on a journey through the transformational hinterland of this unique artist’s mind. It’s sometimes vexing, sometimes bewildering, and in certain ways picks up where Aphex Twin appears to have left off.

Written by: Jacob Brookman | Date: Thursday, 09 December 2021


Sting - The Bridge (Album Review)

Photo: Tomoko Itoki As cliche as it may sound, and it’s almost painful to continue this sentence, Sting’s latest record could easily be a ‘Best Of’ composed entirely of new songs. During the pandemic the singer’s boxed-in subconscious transported him to times and places where memory, experience and fantasy became one claustrophobic blur. With the resultant art reflecting life in lockdown, it’s unsurprising these era-spanning vignettes depict a series of trapped characters striving to find their own bridge over tempestuous waters.

Written by: Simon Ramsay | Date: Friday, 03 December 2021

The Darkness

The Darkness - Motorheart (Album Review)

Listening to The Darkness often feels like watching a blindfolded person attempting to perform a high wire act on roller skates without a safety net. If that particular tightrope, and by extension ‘Motorheart’, also represents the fine line that exists between genius and madness, this rock ‘n’ roll foursome once again prance, dance and teeter all over it as they fly through nine gloriously unhinged songs by the seat of their sequined pants.

Written by: Simon Ramsay | Date: Thursday, 02 December 2021


Adele - 30 (Album Review)

Photo: Simon Emmett Stylish and brave, Adele's melancholic ‘30’, reveals an artist at her most vulnerable. Creating a therapeutic body of work, Adele has invested the regret, pain and anguish she experienced during the breakdown of her marriage into the album’s creation. 

Written by: Milly McMahon | Date: Monday, 29 November 2021


Elbow - Flying Dream 1 (Album Review)

Over the course of Elbow’s career, the Mancunian group have tended to pepper their albums with cacophonous rabble rousers amongst more genteel, subtle pleasantries. While these stadium-ready anthems have taken all the plaudits, it’s often been the more sedate songs, which tick along beneath their neighbours’ grandiosity, that carry the albums home.

Written by: Graeme Marsh | Date: Friday, 26 November 2021

Brian Fallon

Brian Fallon - Night Divine (Album Review)

‘Night Divine’ is a new collection of hymns played by former Gaslight Anthem frontman Brian Fallon, and released in time for Christmas—10 tracks played acoustically featuring favourites such as O Holy Night, The First Noel and Silent Night. It presents an opportunity for Fallon to delve into his Christian faith and display his folk arrangement chops alongside a glorious, some-might-say otherworldly, lack of imagination.

Written by: Jacob Brookman | Date: Thursday, 25 November 2021


Converge - Bloodmoon: I (Album Review)

Two decades ago, who could have expected something like this to come from Converge? Nobody who witnessed the landscape-reshaping release of 2001’s ‘Jane Doe’ would have predicted that the Massachusetts band would one day make sounds like those on ‘Bloodmoon: I’.

Written by: Emma Wilkes | Date: Wednesday, 24 November 2021

Jon Hopkins

Jon Hopkins - Music For Psychedelic Therapy (Album Review)

Photo: Steve Gullick Jon Hopkins’ ‘Music For Psychedelic Therapy’ is unlike anything he has produced before. Known for creating tracks that reach for beat-driven euphoria, here he has ditched blueprints that have brought him legions of fans and even a Grammy nod for best dance/electronic album for his 2018 album ‘Singularity’.

Written by: Matty Pywell | Date: Monday, 22 November 2021

Jerry Cantrell

Jerry Cantrell - Brighten (Album Review)

Whether it’s with Alice In Chains, or as a solo artist, Jerry Cantrell’s music always resides in the vast grey realm located between rigid notions of black and white. Exploring internal and external battles with unflinching candour, he’s a songwriter who understands that we’re complex souls driven by conflicting elements. A cinematic, stylistically surprising and ultimately uplifting trip through that dramatic landscape, ‘Brighten’ is a feast for the senses.

Written by: Simon Ramsay | Date: Monday, 22 November 2021

Nathaniel Rateliff

Nathaniel Rateliff and the Night Sweats - The Future (Album Review)

Backed by the wonderfully expressive Night Sweats, a joyous eight piece ensemble who dispatch vintage Muscle Shoals R&B textures with class to burn, Nathaniel Rateliff never sounds like a man who consciously writes and sings music. When he steps up to the microphone, it’s as if some unstoppable force has entered his body, using him as a conduit to express elemental truths about life, love and, on this soul-searching record, the existential crisis that overwhelmed him during the pandemic.

Written by: Simon Ramsay | Date: Friday, 19 November 2021

Taylor Swift

Taylor Swift - Red (Taylor's Version) (Album Review)

Earlier this year Taylor Swift pulled off the remarkable feat of re-recording, and consequently improving, her superstar-making album ‘Fearless’. Next up, the record many consider her finest, most representative work gets the full bells and whistles makeover.  But when divorced from the unique emotional maelstrom she experienced while forging it a decade ago, Swift’s expanded version of ‘Red,’ although impressive, doesn’t strike as authentically as it did the first time around.

Written by: Simon Ramsay | Date: Thursday, 18 November 2021

Diana Ross

Diana Ross - Thank You (Album Review)

Photo: Ross Naess Thank You’ is Diana Ross’ 25th studio album and the first since 2006’s wretched ‘I Love You’—a covers record that would have otherwise served as an unsatisfactory coda to a magnificent recording career. And while there is no evidence that this will indeed be the 77-year-old Michigander’s last offering, it’s hard to avoid a sense of finality as that title runs up against songs full of groove, heart and sentimentality.

Written by: Jacob Brookman | Date: Wednesday, 17 November 2021


Idles - Crawler (Album Review)

Idles have long been a reliable source of mayhem, with Joe Talbot’s polemics running up against torrents of guitar noise, but learning to pull things back and explore the impact of the notes left unplayed requires another skill set entirely. It’s one the Bristol band have honed beautifully on ‘Crawler’, their second album in a little more than a year.

Written by: Laura Johnson | Date: Wednesday, 17 November 2021

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