Classical and Opera Reviews
by John Murphy
Basia Bulat‘s last album, Good Advice in 2016, seemed to mark something of a creative rebirth for the Canadian singer. The recruitment of Jim James…
by Ben Devlin
Over the past five years Sean L Bowie, aka Yves Tumor, has built his reputation as a genre-bending polymath, with 2018’s Safe In The Hands...
by Ben Hogwood
The story of Mystery Jets’ recent history is an inspirational one, both musically and autobiographically. A Billion Heartbeats was set for release at the end...
by Ben Devlin
With a Thundercat record, one basically knows what to expect at this stage: basslines and grooves that pay homage to classic funk, angular falsetto toplines...
by Alan Ashton-Smith
Pigs Pigs Pigs Pigs Pigs Pigs Pigs are a rare thing: a metal band that has succeeded in garnering appreciation outside of heavy subculture and...
by Ross Horton
M Ward is the kind of artist that just seems to always be making something. He always seems to have a record out, and the...
by Ben Devlin
A well-honed classical sensibility has always been running through the work of Matthew Coleman, a.k.a. MJ Cole, like words through a stick of rock. Whether...
by Alan Ashton-Smith
All credit to Melt Yourself Down and Decca Records for not postponing the release of 100% YES, at a time when many albums are being...
by John Murphy
It turns out that New Me, Same Us is a pretty appropriate title for Little Dragon‘s sixth studio album. The Swedish quartet have been on...
by Nick Smith
Since bursting onto the music scene in 2016 with her highly contemporary fusion of synth-pop and R&B, Dua Lipa has released a shedload of chart-bothering...
by John Murphy
Katie Crutchfield’s fifth album under the Waxahatchee moniker feels a bit like a rebirth, which is appropriate as it’s her first album since giving up...
by Sam Shepherd
The second album from Catholic Action sees the band embracing (carefully) electronic flavours to flesh out their sound a little. There had been some intention...
by Ross Horton
So the first thing you’ll have noticed about Pearl Jam‘s new album, Gigaton, is just how much the first single (Dance Of The Clairvoyants) sounds...
by Ben Devlin
If there is one word that sums up this collaboration between British producer Daniel Avery and Nine Inch Nails keyboardist Alessandro Cortini, it’s lo-fi. Every...
by Ben Devlin
Alex Paterson and his merry band are back with a new record, this time with a vaguely colonial theme. The album is ostensibly about the...
by Ross Horton
Baxter Dury – he of the iconic parentage and effortless diamond geeza cool – has returned to save us all from self-isolation and an endless...
by Graeme Marsh
To call Arbouretum’s seventh studio album Let It All In eclectic is not far wide of the mark. 2013’s Coming Out Of The Fog was...
by Ross Horton
Myrkur – the slightly terrifying nom de plume of Danish polymath Amalie Bruun – is the Icelandic word for ‘darkness’. Fitting then, that the records...
by Ben Devlin
Purveyor of electronic noise Ren Schofield, aka Container, is back with his first album since 2018, as well as his first since the tetralogy of...
by Ross Horton
The Districts‘ last record, Popular Manipulations, was a short, sharp blast of intense psych-tinged indie rock. Produced by the maestro John Congleton, it ran the...
by Ben Devlin
Four Tet is a very well-loved figure in electronic music: Kieran Hebden’s mixture of earthy textures and mellow club beats has made him a household...
