Three years for most artists is an eternity when making their debut LP, but at times it feels like Bizu could have taken longer to create her own identity during ‘A Moment Of Madness’.
‘Trick’ reconciles the soulful street poetry of his first two records with his new-found sense of maturity, and it’s Jamie T’s most consistently enjoyable album so far.
by Ollie Rankine Artist collaborations experimenting with the fusion of rock and hip-hop are naturally apprehensive ordeals for both musicians and fans to patiently endure until the release date. The pairing of the two genres have previously tasted commercial success within Aerosmith and Run-DMC’s 1986 version of ‘Walk This Way’ and then later, Linkin Park and Jay Z also proving its viability with their 2004, rap rock mash-up, Collision Course.
A playful yet prolific record that boasts all the versatile musicality, eclectic collaborations and stimulating lyricism for which their fans have always loved them.
by John Tindale It has been a full decade since French electronic duo Cassius last released an album in the form of 15 Again, an Ibiza-infused celebrating house during a lull for the genre. Ibifornia, a blending of the club of Ibiza and the sun of California, is an ambitious and risk-taking affair that, unfortunately, misses its target too often.
by Ed Biggs Since their dense and detailed 2014 debut album ZABA, Oxford’s folktronica four-piece Glass Animals have made impressive commercial strides into key markets across the world. America seems to be falling in love with them, and Britain isn’t far behind, with recent single ‘Life Itself’ getting serious radio rotation.
by Ollie Rankine Living in an age where EDM has seemly claimed widespread dominance in popular music, artist determination to develop and expand the genre as far as humanly possible has arguably purged it of many of its original qualities. Although London duo Factory Floor began their careers sounding much like some sort of Joy Division tribute act after releasing their 2008 debut single ‘Bipolar’, their allegiance to claustrophobic post-punk has
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Amnesty may have been released in mid-August, but it is an album designed for the dead of a winter’s night.
by Ollie Rankine In the cut-throat world of pop music, it’s common knowledge that talent doesn’t always equate to record sales. On countless occasions, the system that drives popular music has laid waste to numerous musicians, each unjustly thwarted by their music’s lack of palatability. Continuing to battle the affliction of commercial viability is London singer-songwriter, Ed Harcourt whose now 16-year-long career is yet to generate a legitimate hit.
This year we’ve had records from Beyoncé, Radiohead, Kanye West etc. but in the midst of the global icons, a superstar introvert has released the most important album of the year and his second masterpiece in a row.
