Currently studying Mathematics and Music at Leeds University. Generally a fan of all things musical, cultural, and pretentious. Values aesthetic way too much.
A four-hour monster of a remix album, there’s so much material on Foals’ ‘Collected Reworks’ that it’s worth your time to at least explore.
A daring and expertly crafted statement that’s a product of its political climate, ‘The Ascension’ is another masterpiece from Sufjan Stevens.
The Killers’ sixth album ‘Imploding The Mirage’ has solid and touching moments amid the usual Springstonian bombast.
For every win on Glass Animals’ eclectic third album ‘Dreamland’, there’s another moment of excruciating cringe.
On their fourth album ‘Notes On A Conditional Form’, The 1975’s ambition often exceeds their grasp, sounding like a poorly curated playlist.
The point at which The National began to outgrow their cult status to become one of the world’s finest bands, ‘High Violet’ turns 10 years old.
Hobbled by a very short run-time, Dirty Projectors’ latest EP ‘Windows Open’ feels slightly unsatisfying and insubstantial as we wait for a new album.
A thematic and true sequel to his previous Tame Impala masterpieces, Kevin Parker ruminates on the nature of time on ‘The Slow Rush’.
Never before have Lana Del Rey’s various aesthetics sounded more genuine, and in service of a singular sentiment, than on ‘Norman Fucking Rockwell!’
Two Door Cinema Club’s fourth album ‘False Alarm’ sees them effortlessly turn the same indie-pop bop-along tricks – but it becomes grating after a short time.