19 years old, born and bred in West London, currently studying Media, Journalism and Culture at Cardiff University. My musical listening habits waver between hip-hop, electronic and indie. Reviews, commentary and complaints are my current speciality, but as the great Jay-Z states ‘Everybody can tell you how to do it / they never did it’.
On their sophomore album ‘Wide Open’, Toronto’s Weaves exude increased confidence and identity that stands them in good stead for future efforts.
Cut Copy’s fifth album ‘Haiku From Zero’ does exactly what music marketed as “vintage” should do, but fails to do so memorably.
Zola Jesus’ fifth album ‘Okovi’ is the sound of a confident, distinctive artist constantly evolving and adjusting her own sound.
Recovering from critical and commercial disaster last time out, Jake Bugg’s fourth album ‘Hearts That Strain’ sees him back in familiar if entirely unoriginal territory.
Girl Ray’s eagerly awaited first full-length ‘Earl Grey’ fulfills all the requirements for a promising and entertaining debut.
Following a successful debut album, Childhood have taken their time over its follow-up ‘Universal High’, and it pays dividends.
Shawn Carter’s elder statesman role in hip-hop is long since secured, but ‘4:44’ doesn’t particularly add to his legacy, failing to make its desired social commentary stick in the mind.
With ‘Big Fish Theory’, Vince Staples explores hip-hop’s historic love affair with dance and electronica on a polished, highly enjoyable album.
SZA’s much-anticipated debut album ‘Ctrl’ delivers handsomely, full of insightful and on-message slow jams and genre-mashing fun.
Dua Lipa’s long-awaited debut album is extremely accessible and competent but misses the chance to be truly cutting-edge.