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’.
The Orielles’ debut album ‘Silver Dollar Moment’ is a sparky, quick-fix of garage-rock energy refracted through the lens of classic pop.
It’s been a long road marked with delays and tragedy, but Phobophobes’ debut album ‘Miniature World’ pays out on all their early promise.
Returning after a seven-year hiatus, The Neptunes’ recording vehicle N*E*R*D* still suffers from the same flaws and lack of consistency on ‘No_One Ever Really Dies’.
The Neptunes have influenced the sound of 21st century pop as much as anyone else. Check out our short guide to Pharrell Williams and Chad Hugo’s production team!
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.