Currently studying Mathematics and Music at Leeds University. Generally a fan of all things musical, cultural, and pretentious. Values aesthetic way too much.
Natalie Mering’s fourth Weyes Blood album ‘Titanic Rising’ is a significant leap forwards, an exercise in the application of nostalgic influences to create something thrilling, moving and contemporary.
One of the greatest monuments to hip-hop’s golden age of the late Eighties, De La Soul’s colourful and idiosyncratic 1989 debut ‘3 Feet High And Rising’ remains seminal.
Zach Condon’s latest Beirut album ‘Gallipoli’ finds him failing to re-capture the enthusiasm of his early efforts, but not maturing enough as a songwriter to move on either.
Listening to The 1975 trying to actively forge an intelligent, overarching statement in an era when sincerity has long since died makes ‘A Brief Inquiry Into Online Relationships’ arguably the most relevant pop album this decade.
When you think that ‘Simulation Theory’ is the work of the same band that once did ‘Origin Of Symmetry’, you realise how depressingly cynical Muse have become.
Connan Mockasin is still a precocious talent, but far too much of ‘Jassbusters’ drifts by without making any impression.
‘Trench’ is the mature and well-crafted Twenty One Pilots album to date, achieving tonal coherence and with some of the best production in current alternative music and an intriguing dystopian narrative thread running through it.
Conor O’Brien oversees another gentle expansion of the sonic terms of Villagers with the project’s beguiling fifth album ‘The Art Of Pretending To Swim’.
It took Jungle a long four years to make, but ‘For Ever’ is little more than a holding pattern after the success of their debut.
Death Cab For Cutie’s ninth album ‘Thank You For Today’ does what it does extremely well, but 20 years into their career, it suffers from an almost total lack of surprise.