Album Reviews
by Ben Devlin
There’s an intriguing mixture of old and new on this fourth album, pointing to a creative drive that makes the case for Neil Barnes’ continuing relevance into the 2020s
by Ben Devlin
One of the most ambitious British rap records ever made proclaims the star’s increased creative freedom from the rooftops, but while the highs are higher than on previous records, the lows are lower too
by David Murphy
Proving to be a master at marshalling dirty industrial sounds, the French techno stalwart’s seventh album is a pleasure for cool hepcats and cold androids alike
by Matt Cotsell
It’s testament to the impact of the groop’s songs over 30 years later that they still sound altogether futuristic, keenly nostalgic and utterly otherworldly
by Ben Devlin
Berlin and Amsterdam-based ensemble’s orchestral suite, co-composed by Battles’ Tyondai Braxton, Factory Floor’s Nik Colk Void and Deerhoof’s Greg Saunier, shines with an experimental series of collaborations
by David Murphy
On the Scots trio’s sixth studio album, the same infectious bounce and sly wit is in evidence as it was back in 1996
by John Murphy
Natalie Mering’s fifth album is a compelling and beautifully told tale of coming out of the darkness
by John Murphy
Nashville singer-songwriter’s third album is a relaxed, confident set of 12 new songs highlighting her expertise in pop-country, with the emphasis on the pop
by Matt Cotsell
London-based foursome reveal an endearing vulnerability while mustering a battalion who would happily take their lead anywhere
by John Murphy
An album that has to be immersed in and savoured, there’s nobody else out there making music quite like this
by Matt Cotsell
Cult London pop trio steal hearts on the south coast with a snuggly smorgasbord of hits for old times’ sake
by Ben Devlin
This admirably ambitious, envelope-pushing 87-piece work features electric guitars, orchestra, choir, and electronics and coalesces into various jolts of adrenaline
by Ben Devlin
Nas and Hit-Boy reunite to deliver some no-nonsense verses and beats, with an interesting mix of nostalgia and more contemporary sounds There’s a moment on King’s Disease III – near the end of Reminisce, just...
by Ben Devlin
His first solo album in six years is comfortable, accomplished and at times even gleeful in its kitchen-sink approach to sound design
by Ben Devlin
This lateral progression in their artistry represents a new identity and a more lo-fi sonic approach
by John Murphy
Essentially, this is The Boss doing karaoke. But when it’s done this well and with so much obvious love for the source material, it’s irresistible
by Ben Devlin
The Peckham duo splits to make an album in two parts: one sample-heavy R&B, the other minimal house/techno
by Nicoletta Wylde
Girls invented punk rock, and the world can never have enough black intersectional feminism, and these are absolute facts Girls invented punk rock, yeh? And surely there are none-more-punk girls than London’s kick ass all-black...
by John Murphy
Bringing back that effortless French cool in a way that only they can, the French outfit’s seventh is easily their best since Wolfgang Amadeus Phoenix
by John Murphy
The Swedish sisters’ ability to tug on the heartstrings is still very much in evidence on their first record since their debut to be recorded back in their native Stockholm
by Ben Devlin
An accomplished, moving record from the purveyor of IDM-influenced soundscapes arrives with a little help from his friends
Leftfield – This Is What We Do
