Currently studying Mathematics and Music at Leeds University. Generally a fan of all things musical, cultural, and pretentious. Values aesthetic way too much.
Mount Kimbie’s third album ‘Love What Survives’ sees them go further down the path of third-party collaboration with their post-dubstep sound, and it’s enjoyable without being definitive.
Following two decent albums of sumptuous, dreamy indie-rock, Daughter’s next move is to provide the soundtrack to a video game.
On ‘A Deeper Understanding’, Adam Granduciel travels even further into his own haunted mindscape to make another War On Drugs masterpiece.
Everything Everything’s fourth album ‘A Fever Dream’ wants to go for the grand political statement, but comes off a little clunky.
Passion Pit’s fourth album ‘Tremendous Sea Of Love’ is far too good to have been given away for free on Twitter.
Probably now doomed to be remembered as a one-hit wonder, Foster The People’s utterly inoffensive third album ‘Sacred Hearts Club’ completely lacks originality.
Having spent nearly four years on it, ‘Something To Tell You’ sees HAIM return with their critic and public-pleasing formula fully intact.
Ernest Greene’s third full-length Washed Out album is perfectly functional and enjoyable, but fails to push the boundaries of chillwave in any discernible direction.
Now simply a solo vehicle for singer Jonny Pierce, the fourth Drums record is perfectly fine but doesn’t take any risks or offer many variations of the formula.
Amber Coffman’s first solo album after leaving Dirty Projectors, ‘City Of No Reply’, is sadly far too polite and inoffensive to be memorable enough.
