Currently studying Mathematics and Music at Leeds University. Generally a fan of all things musical, cultural, and pretentious. Values aesthetic way too much.
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.
They were so bizarre when they emerged back in 2007, but Yeasayer are losing their edge with every passing album in 2019 on ‘Erotic Reruns’.
Meshing her avant-garde and pop sensibilities into a coherent and striking insight on AI learning, ‘Proto’ is another incredible album by Holly Herndon.
Having dropped his Chet Faker moniker five years ago, Nick Murphy finally returns with a reinvention of sorts in ‘Run Fast Sleep Naked’.
Arguably the greatest hip-hop album of all time, Nas’ 1994 debut ‘Illmatic’ is a perfect distillation of the genre’s essence.