Lana Del Rey is in a defiant and, dare we say, tentatively happy mood on her fourth album, ‘Lust For Life’.
Mura Masa’s long-awaited debut album doesn’t quite shine with the same lustre as his early EPs and mixtapes, but his original vision for pop still alluring.
Having spent nearly four years on it, ‘Something To Tell You’ sees HAIM return with their critic and public-pleasing formula fully intact.
Newly-married Guy Garvey sounds truly happy on ‘Little Fictions’, as bold and accomplished an album as Elbow have ever made.
A colourful adventure playground of album that boasted lethal pop hits, ‘Myths Of The Near Future’ rocketed Klaxons to national fame. But it was all over very quickly…
There’s something incredibly dignified about ‘Blue & Lonesome’, a covers album that shows the Stones as music fans rather than as rock gods.
If ‘AIM’ really is Maya Arulpragasam signing off, it’s the sound of her doing so in solid, unspectacular style rather than with a bang.
by Ollie Rankine In the cut-throat world of pop music, it’s common knowledge that talent doesn’t always equate to record sales. On countless occasions, the system that drives popular music has laid waste to numerous musicians, each unjustly thwarted by their music’s lack of palatability. Continuing to battle the affliction of commercial viability is London singer-songwriter, Ed Harcourt whose now 16-year-long career is yet to generate a legitimate hit.
by Ollie Rankine After an unusual four year hiatus riddled by much squabbling among artists hoping for a collaboration, (most notably, Kanye West) Michael Kiwanuka has finally, once again, found himself standing beneath the limelight with the release of his recent album, Love & Hate. Following up his Mercury-nominated, soul-folk debut Home Again, Kiwanuka returns armed with a far more accomplished production team than usual with British producer Inflo and Brian
by Ed Biggs Throughout his short but dazzling career thusfar, James Blake has always come across as somebody determined to re-cast electronic music into something deep, innovative and distinctively modern. Anyone who heard his chilling, minimalist deconstruction of Feist’s ‘Limit To Your Love’ half a decade ago, a demonstration of his ability to say so much with so little, to utilise the silence in and around his skeletal music to his