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Published by Mason Oldridge, 4 March 2022 As indie rockers The Wombats’ fifth album Fix Yourself, Not the World becomes their first No. 1, we take a look at The Wombats discography to find out if they truly are a modern glitch in modern music. Their debut album A Guide to Love, Loss & Desperation was just another basic indie rock album by another group of Arctic Monkeys or Franz Ferdinand wannabes. So what changed? Upon their second album This Modern Glitch, it was the introduction of lead singer Matthew Murphy’s keyboards that brought about a whole new aura of energy that created their unique sound. Lead single Tokyo (Vampires & Wolves) tells of the fun they had at a bar in the Japanese capital where they could forget, or at least temporarily escape, their worries and is accompanied by synth that recreates the atmosphere of the experience. This is not the only track you can dance to from the album which sees the boys seemingly find their footing with their sound. Our Perfect Disease opens the album and is potentially the catchiest song on the record, though discusses the heartbreak of missing an ex with the chorus explaining “we all need someone to drive us mad”. The ability to mix upbeat music with soul-crushing lyrics is one that definitely works in the band’s favour. Anti-D brings about a nice change of pace as the strings-orientated slow-build song chronicles Murphy’s real-life battle with the effects of anti-depressants. The lyrics ring all too true in this one as Murphy cries out “I needed more than what was in those 40mg”. The centrepiece of the album, however, is Techno Fan. This perfectly covers the high level and vast array of emotions experienced at a nightclub and again transports you to the club itself. “I’d chop a limb off just to have a good time” refers to the desperation to go out, “I didn’t queue for an hour to leave straight away” tells of the struggle just to get in, “move with me or get out of my face” references the close proximity to strangers and “the lasers fill our minds with empty plans” is a genius reference to how the intense lighting mixed with intoxication results in an overactive mind fantasising about something that will never happen. Follow-up Glitterbug proved their previous effort was not just a fluke. The album opens with the emotionally-charged Emoticons. The whining guitar matched with Murphy’s falsetto vulnerably channels the pessimistic message “all these emoticons and words try to make it better but they only make it worse”. The opener erupts into a revelation of emotion which is wrapped up nicely with a theramin-inspired ending. Give Me a Try follows the unsuccessful attempts at dating, often put into practise in a club, which would be an idyllic environment for its airplay. Be Your Shadow focuses on the heart-wrenching topic of infatuation and how you lose self-worth for attention of the other, exemplified in the lyric “kiss me with your fist, it’s alright, wrap your hands around my throat I won’t mind”. Even violence is accepted when a victim to infatuation, heard in Murphy’s admission “I just want to be your shadow”. With Glitterbug, the band has produced another set of songs with powerful and hard-hitting lyrics disguised with energetic music to match the setting and emotion of the scene. Their fourth album Beautiful People Will Ruin Your Life, seemingly a warning, is musically darker in tone and features a noticeable return to the guitar being at the forefront. Lead single Lemon to a Knife Fight makes use of the acoustic guitar with a sinister riff creating a chilling atmosphere. The comical take on the widely-known metaphor is actually based on Murphy’s experiences always losing an argument with his wife but is a haunting insight into being underprepared and outmatched when extracted to a more serious situation. Turn is a beautiful contrast between the positive and negative aspects of someone you love and how you can identify the flaws but ultimately are drawn to them and admire the little things. The lyrics alternate between compliments such as “you could give an aspirin the headache of its life” and criticisms based on memories such as “seeing a message flash and then smashing up my phone”. The comparisons result in attraction overpowering the toxicity as Murphy contemplates “maybe it’s the crazy I’d miss” before concluding “it won’t get better than this”. The song is centred on the beautiful compliment "I like the way your brain works” which is a clever representation of attraction stemming from the complex psychology of one’s mind. The band’s latest album Fix Yourself, Not the World, a message all too relevant within the bleakness of today’s society, continues their line of emotional lyrics against energetic music. If You Ever Leave, I’m Coming with You returns to the theme of infatuation, with lyrics such as “trying to make friends with the friends you’re close to” touching upon the desperation felt in this scenario. Everything I Love Is Going to Die looks at how getting caught up in happiness distracts us from the concept of mortality. There is also heavier experimentation heard on the album in tracks such as Method to the Madness. This latest effort is the fourth consecutive album to delicately balance emotion and energy to perfectly recreate an intense or overwhelming experience, suggesting that The Wombats are a talented and wonderful anomaly in a 21st century musical landscape saturated with lyrically nonsensical R&B.

Published by Mason Oldridge, 4 February 2022 “Anyone but them” I exclaimed as it was announced Italy had won the 2021 Eurovision Song Contest. It is safe to say I wasn’t best pleased with the result; however, it was after the competition that they broke into the mainstream… and into my music library too. Despite a whirlwind year of being thrust into the spotlight, it is undeniable that Eurovision was the turning point for Måneskin that kick-started their career. As X Factor runners-up in 2017, the Italian rock band was little known outside of Italy for the next four years. One of the few entries to not be a returning artist from the cancelled 2020 contest, Måneskin was the bookies favourites on the night of the final, despite being a lot less talked about in comparison to the other frontrunners. Passionately rooting for my pre-determined favourites of the Lithuanian dance track and the Ukrainian rave group, the four-piece was initially a disgrace to my favourite night of the entertainment calendar. After belting out their entry Zitti e buoni, which loosely translates to Shut Up and Behave, the crowd went wild. Despite their eventual win, it was the fake news of lead singer Damiano David snorting cocaine in the green room that plastered the newspapers the next day. It was broken glass, by the way. It can be argued Måneskin popularised rock music within the contest, a genre previously rather unsuccessful at the event. 2021 also saw a rise in native language songs doing well, with the Italian song winning, followed by two French songs and a Ukrainian song in 5th. It’s only fair to credit the group with enhancing a variety of European languages at Europe’s biggest music competition. Most Eurovision artists do well to reach a demographic beyond the arena walls, never mind beyond their own country (with the exceptions of ABBA and Bucks Fizz of course), so how did Måneskin expand outside the land of Italia? Like most 2021 artists: TikTok. The upcoming social media phenomenon has created many viral sensations and it was the platform’s repetitive use of their follow-up single I Wanna Be Your Slave that introduced the rest of the world to these glam rock superstars. I can only imagine using English enhanced the popularity of the track but it introduced us to the depth and uniqueness of their lyrical ability. Based around the heart-wrenching subject of infatuation, the song is all too relatable to anyone on the receiving end of heartbreak. While the profanity could be misinterpreted to degrade the narrative, it actually mirrors the anger and passion one feels in an infatuated state. It was this anthem in particular that gave them UK recognition and radio airplay, and where I was sceptical at first, as their Eurovision performance was only slowly creeping up my top ten favourites at this point, it was this song, and it’s powerful and relatable lyrics in particular, that won me over. Furthermore, it was their unique take on the Four Seasons’ Beggin’ from their teen years on X Factor that saw them break America, and if there’s one place you want success, it’s the US of A. Beggin’ is arguably the track that utilises David’s powerhouse vocals the most and highlights their talent of turning a classic into something completely brand new… and then storming the success of the former. So, you’ve broke the world… how do you keep in its eyeline? Performing a set at the base of the Eiffel Tower for worldwide benefit concert Global Citizen probably is a good step. This performance introduced us to For Your Love, another English language song discussing the tantalisation of unrequited love. Don’t fall into the trap I initially did and let their outrageous costume and erratic behaviour trick you into believing they are consumed by their egos; David’s homage to Billie Eilish before their cover of Bury a Friend is an insight into their teddy bear personalities that lie beneath the surface. Everyone has a wild side lying dormant, right? If there’s one thing that their latest single MAMMAMIA suggests, other than their love for their native Italy, it’s that Måneskin are on the up with no intention of vanishing from the limelight anytime soon. And, at the very least, Eurovision 2022 live from Turin will have a very good opening act. Rock’n’roll never dies!

Published by Mason Oldridge, 20 August 2025 Last year, Awolnation released their fifth album The Phantom Five, which was said to be likely their last. A year on and it seems they’re keeping to it, with nothing heard from them since (except their recent duet with Pendulum). So with a future not guaranteed, let’s instead look back to their first four records and subsequent EP to tell the story of AWOL. Awolnation are an alternative rock band from Los Angeles, with electronic sounds deep rooted in their DNA and characterised by shouting vocals from frontman Aaron Bruno, who leads the project. Debut album Megalithic Symphony was released in 2011 and was one of the first great successes of Red Bull Records. It contains their signature song Sail, an electronic rock anthem with distortion and strings. The diamond-certified track begins by excelling in its simplicity before growing to become cleverly layered, fully deserving its overwhelming success. The album also includes subsequent singles Kill Your Heroes, with a music video parodying children’s television, and Not Your Fault, with an accompanying claymation MV. Also appearing on the record is fast-paced Burn It Down and the more stripped-back Guilty Filthy Soul from the previous year’s EP Back from Earth. The album closes with the epic multi-sectional Knights of Shame. Drawing comparison to Radiohead’s Paranoid Android due to its through-composed structure, it starts with a continuous dance-like electronic beat with vocals from Bruno as well as an uncredited rap similar to Faithless’ Salva Mea and a female robotic voice, before developing into an acoustic section and concluding with a multi-instrumental finale. The complexity benefits the innovative closer and makes it a highlight of their first full-length effort. Furthermore, the deluxe edition boasts new soundtrack songs as well as the previously unreleased MF, a heavy energetic hidden gem with a strong electronic beat. They released follow-up album Run in 2015. Bruno spoke of how this project felt like the first time he was creating music for a loyal and dedicated fanbase, stating “this success is totally new and foreign for us”. It opens on the title track and, if Sail is their signature song, then this is their magnum opus. Opening with electronic distortion, strings are then added before Bruno begins the refrain of “I am a human being, capable of doing terrible things”. We return to the instrumental music before a tense build up, culminating in Bruno monotonously uttering “run”. Then it drops, with a heavy guitar riff and angry cries, proving to be an effectively innovative piece. The rest of the tracklist is primarily heavy rock songs with underlying electronic sounds, including singles Hollow Moon (Bad Wolf) and Windows, interspersed with a few slower offerings, such as the piano-driven Fat Face, the acoustic Headrest For My Soul and the closing track Drinking Lightning. Here Come the Runts is the third album, released in 2018. Bruno’s wife fosters puppies at their home and he explains how runts of a litter have to fight harder for survival, which also applies to the music industry, with him feeling like an underdog himself. It was recorded in Bruno’s home studio in Malibu. This record adopts a more organic approach, with the electronic elements taking a back seat, but this results in a more well-rounded end product. The running order starts with the title track before lead single Passion plays. The single is carried by the heavy guitar on the chorus and features a bold music video showcasing a bilateral amputee skateboarding. Second single Handyman is sentimental, Seven Sticks of Dynamite utilises acoustic guitar and Table For One was re-released as a duet with Elohim, while lengthy closing track Stop That Train is an epic finale, creating a sense of urgency before developing further into almost heavy metal. In 2020 came fourth album Angel Miners & the Lightning Riders. Lead single The Best opens the record with its string sounds whereas Slam (Angel Miners) contains a dance melody. Mayday!!! Fiesta Fever is an energetic single featuring musician Alex Ebert, while California Halo Blue is a tribute to the victims of the California wildfires, a disaster that personally affected Bruno after his property was largely destroyed. This unusually emotive piece from AWOL also features a music video that covers the catastrophe. The subject leaves a somewhat unsettling effect as there is an unnerving juxtaposition between the luxurious lifestyle of California and the devastation that the wildfires brought. Pacific Coast Highway in the Movies, featuring Rivers Cuomo from Weezer, paints a happier scene of sunny coastal California thanks to its dancing keys and dreamy chorus, even if the lyrics oppose this. The final two songs, Half Italian and I’m a Wreck, are two of the heaviest offerings on the record. The former is rather sinister, then the latter unexpectedly speeds up midway through, building towards an epic (and sweary) finale. Angel Miners & the Lightning Riders is also one of AWOL’s more polished products with a clean production. Three new singles were released across 2022 and 2023, which formed the Candy Pop EP, something of a precursor to the fifth album The Phantom Five, which is teased in the greyscale music videos. Freaking Me Out features a slick guitar riff, We Are All Insane inhabits trumpet-style synth, while the titular track Candy Pop is the deserving headliner. A fun electronic song, the single is reminiscent of AWOL’s earlier work and commentates on the addictiveness of pop music and pop culture. Awolnation is an underappreciated act as Bruno delivers a truly unique take on electronic rock. Initially, it could be argued they draw comparison to the much wider known and commercially successful Imagine Dragons thanks to their shared drum-heavy approach, but a deeper delve will show that AWOL have their own unmatchable sound. If there is to be no more and Bruno really has gone absent without leave, then we can take comfort in knowing there will always be a rock solid discography already laid down.

Published by Mason Oldridge, 15 August 2025 Aussie drum and bass group Pendulum present their fourth album Inertia, their first in 15 years and featuring all original singles since returning from hiatus. The band’s USP is their heavier approach to drum and bass and Rob Swire’s unmistakable vocals, both of which are utilised on this latest release. Multiple genres are interspersed with their DnB sound on the collaborations. There’s punk from Wargasm on Cannibal, heavy metal from Bullet For My Valentine’s Matthew Tuck on Halo and dance from Hybrid Minds on Louder Than Words. Elsewhere, there’s hip hop from Joey Valence & Brae on Napalm, rock from Awolnation on Guiding Lights and rap from Scarlxrd on Mercy Killing. They continue to showcase their skill and talent on the rest of the tracks too. Colourfast features what sounds like sped-up woodpecker sounds, while Silent Spinner is innovative with its western opening and sinister verses. However, Save The Cat is the standout thanks to its bouncy techno verses, screamo vocals and occasional meow. In the midst of an evolving DnB resurgence, Pendulum prove they are still at the top of their game, retaining their crown as the ultimate kings of drum and bass. 8/10

Published by Mason Oldridge, 20 June 2025 Benson Boone is back just one year after his debut to prove he is more than his signature song Beautiful Things. The album is said to be inspired by Bruce Springsteen and Americana music with intentions of “a retro vibe”, all felt throughout the tracklist, whilst also inhabiting a summer feel. Lead single Sorry I’m Here For Someone Else opens the record, synth-driven Mr Electric Blue is an ode to his father and second single Mystical Magical is incredibly catchy and dreamy from its first listen. Momma Song is a heart-wrenching tribute to his mother and incorporates strings, while closing track Young American Heart documents a real-life serious car accident Boone was involved in as a teenager. American Heart feels like a progression and indeed an improvement upon Fireworks & Rollerblades, sees Boone succeed in his mission to prove his worth beyond his namesake track and continues to utilise them powerful vocals to further establish his own unique sound. Not only does American Heart not contain one bad song, every song is impressive and deserves far more exposure than it is bound to get. 9/10

Published by Mason Oldridge, 9 May 2025 Italian singer Damiano David breaks away from the heavy rock sound of his Eurovision-winning band Måneskin for a softer solo debut. Funny Little Fears incorporates acoustic guitar, ballads and - dare I say it - pop music. David’s harsh, gravely and contrastingly gentle vocals sound foreign in such a different landscape to the glam rocker’s usual setting but nicely adapts to the new environment. Furthermore, he trades in anger and excitement for vulnerability and romance, producing a more raw and honest record. Equally as passionate, but against a vastly altered backdrop. Voices is a pop-esque single reminiscent of John Newman, Angel is fun and playful with its keys, Mars stands out as the highlight thanks to its eerie guitar riff whereas Perfect Life features dreamy vocals and Solitude (No One Understands Me) excels due to its innovative lyrics. Such energy may be lacking without his bandmates, and Italian-language tracks are a missed opportunity here, but nevertheless David’s impressively powerful vocals - and indeed vocal control - shine through again as he establishes his own unique sound as a solo artist. Just please don’t be too long away from the band! 7/10

Published by Mason Oldridge, 27 March 2025 Stranger Things star Joe Keery releases new music under his alias Djo, following last year’s viral hit End of Beginning. Keery masters his own unique sound, blending synth, piano and both electric and acoustic guitar, along with underlying 70s and 80s influence. The Crux opens to otherworldly noises on Lonesome Is A State of Mind, a track that progresses throughout towards a synth-wrapped drum beat finale. Link utilises electric guitar, Potion features dreamy acoustic guitar and Delete Ya is an enjoyable single thanks to its fun chorus. Egg is innovative and emulates a progressive rock essence while Charlie’s Garden is playful with its keys. Back on You opens with choral music that cleverly moulds into the first verse whereas Crux is a beautiful closer; an incredibly wholesome song with a heartfelt message. However, the highlight has to be lead single Basic Being Basic. This synth-heavy release revels in its electronic sounds, spoken word verses, addictive earworm chorus and a bridge reminiscent of Billy Joel’s We Didn’t Start the Fire. In addition to his acting career, Keery has established himself as a talented musician too. 8/10

Published by Mason Oldridge, 21 February 2025 Canadian pop superstar Tate McRae is back, leaning more into R&B and turning up the sexuality. A bumper 15-track album, So Close to What is packed with high-energy pop songs set to drum beats and trap sounds and the revealing album cover can be seen as a tease of the explicit content to feature across the tracklist. Latest single Sports Car is easily the standout. Opening to high-pitch trumpet sounds, with seductive whispering on the chorus, not-so-subtle sexually provocative lyrics, infectious cowbell and hauntingly sinister music throughout, this track makes for a seriously epic banger. Unfortunately, there is less variation when compared to its predecessor, which offered more balanced instrumentation, including some more stripped back alternatives to highlight McRae’s vocal talent. That said, closing track Nostalgia tones it down to feature acoustic guitar, creating a more delicate and vulnerable offering. Despite the lack of variation, Tate McRae further establishes her namesake as an artist with the look, the moves and the sound, cementing herself as one of the best in the 21st century female pop industry. 7/10

Published by Mason Oldridge, 10 February 2025 The Wombats will be hoping for another number one with their sixth album Oh! The Ocean. The record opens on silky sounding lead single Sorry I’m Late, I Didn’t Want To Come, though Can’t Say No is the strongest of the singles on offer. Gut Punch is joined by 80s-style keys and its joyfully rapid chorus makes for a seriously catchy tune, while My Head Is Not My Friend tackles the difficult topic of mental health, which the trio have previously touched upon with their 2011 track Anti-D. Reality Is A Wild Ride evokes the hip hop sounds of A Tribe Called Quest, Swerve (101) is built around a sinister riff whereas Grim Reaper and Lobster are dreamy. However, Kate Moss is easily the standout thanks to its epic electronic distortion and its Moby-esque piano. Several tracks are disappointingly more mellowed and less emotionally-charged than what we’re used to hearing from the rockers but the quality still remains stable. The boys might not reach the same level of emotion as much as on some of their previous releases, but with their trademark sound still present and some unpredictability too, Oh! The Ocean is a decent next instalment. 7/10

Published by Mason Oldridge, 27 January 2025 Circa Waves maintain their traditional indie sound on their sixth studio album, teased to be the first in a two-part series. The record opens on the singles, which are standard indie tracks. The following songs are more chilled, with Blue Damselfly being particularly dreamy, while Everything Changed is the heaviest on the album and the strongest too thanks to its additional boost of energy. Unfortunately, Circa Waves fall victim to the straightforward rock sound that lacks creativity and originality as the majority of tracks succumb to inevitably becoming background noise. Potential was demonstrated through the experimental sound on 2020 single Sad Happy which makes this basicness all the more disappointing. Overall, Death & Love, at its worst, sounds like teenagers doing band practice in their dad’s garage but, at its best, sounds like decent indie rock tunes with more depth and emotion, levelling out to be somewhat of a mixed bag, albeit leaning more into the negative side. 5/10

Published by Mason Oldridge, 7 January 2025 After experimentation on their past few albums, Franz Ferdinand appear to be returning to their rock origins on their first album in 7 years, with some surprises thrown in for good measure. The Human Fear delves into the different fears we experience in life and how we can also chase the thrill they create as they are what make us human. Lead single Audacious may suggest the Scottish rockers are slowing down but the rest of the tracklist shows this is not the case. Everydaydreamer opens to slick bass and is complemented by its backing vocals, The Doctor sees a return of the synth and Tell Me I Should Say features a piano intro. Black Eyelashes is truly unique with its Middle Eastern influences whereas The Birds touches upon the theme of regret and excels placing the rhythm guitar at the centre. Night or Day challenges to be the standout with its incredibly catchy chorus, while its verses contain playful keys and strained vocals not before heard by Kapranos. However, Hooked has to be the highlight thanks to its totally unexpected and addictive electronic riff. With more enjoyable tracks and unforeseen sounds, Franz Ferdinand prove they’ve still got it. 8/10

Published by Mason Oldridge, 6 December 2024 Blackpink singer Rosé leaves her K-pop sound behind and leans into more Western pop for her solo debut. The album opens on Number One Girl, a piano ballad that shines a spotlight on the New Zealand / South Korean singer’s powerful vocals. 2am is set to a trap beat, Two Years features synth, Not The Same is centred around a Latin-style acoustic guitar, while latest single Toxic Till the End contains an electronic backing. Elsewhere, Gameboy employs a catchy chorus and Stay A Little Longer is another ballad which emphasises her vocal abilities, before Dance All Night closes the record with its chilled vibes. Despite this, not every track is worthy of merit as some run the risk of fading as background music. However, lead single Apt. is easily the standout. Inspired by the South Korean drinking game, it adopts a playground-like chant in what becomes an inescapable earworm. Having enjoyed international commercial success, the hit features Bruno Mars, whose soulful and silky vocals elevate the track to another level. With an array of instrumentation and strong vocals, Rosé proves she has the staying talent to stand alone as a solo artist. 6/10

Published by Mason Oldridge, 25 November 2024 Industrial rocker Marilyn Manson and his eponymous band return with a new studio album littered with references to religion and death. Lead single As Sick As The Secrets Within was the first taste of the new material and its sinister lyrics align with the music video’s disturbing imagery. Nod If You Understand is the heaviest on the album. Utilising vocal distortion, the track culminates in hammering drums and whining guitar. Sacreligious is a less heavier option whereas Death Is Not a Costume contains a drum beat reminiscent of Nine Inch Nails’ Closer. However, Raise the Red Flag is easily the highlight as a darkly epic anthem built around a haunting melody. Closing the album is Sacrifice of the Mass. Featuring Radiohead-style acoustic guitar, the final track becomes somewhat of a rock opera, albeit in their trademark gothic vein. Despite being their twelfth release, the group prove they can still turn out new music to the quality of their 90s heyday. 8/10

Published by Mason Oldridge, 18 November 2022 Just 10 months after their latest album, the indie rockers are back with a new EP. The title track was released first back in summer and is a classic Wombats song with a catchy guitar riff at the core, bordering on pop-rock. I Think My Mind Has Made Its Mind Up is heavier with a more grinding guitar riff and features an enjoyable bridge thanks to the pairing of bass and crash symbols. The album tracks are somewhat more interesting and ambitious. Dressed to Kill is sinister with distorted vocals on the chorus and verses that bear a surprising resemblance to Miley Cyrus’ Malibu. Demon’s sombre verses give a nice contrast to the outcry on the chorus, Same Old Damage is a diversion from the band’s usual sound, giving off Twenty One Pilots vibes and unexpected falsetto on the chorus, whereas Good Idea at The Time is a fast-paced return to the band’s MO to nicely round off the EP. Emotion doesn’t quite reach the levels of their 2010s work but the collection offers up a nice variation between tracks with both their usual sound as well as experimentation away from it. 8/10

Published by Mason Oldridge, 2 October 2022 Icelandic singer and musician Björk gets back in touch with her homeland with her tenth album Fossora. Clarinets, trombones, strings, drum beats and even a timpani all feature on Fossora to truly recreate a avante-garde pop sound which is heard throughout Fossora. The album was produced during lockdown when Björk returned to Iceland and touches upon the country’s folk origins too. The album opens with Atopos, the lead single and the highlight of the record. Clarinet sounds support Björk’s powerful vocals set to a militant drum beat before a sinister closure. This artistic approach continues throughout the album yet with less force, becoming a concept that grows tired upon progressing through the tracklist. There are other positive elements past the first track however; Ancestress is a lengthy tribute to her mother following her passing in 2018 and stands strong on its own and there is welcome techno included on the title track as many of the songs end with a more abrupt, heavier beat than the harmonic piece they start with. Overall, Fossora is a unique piece of avante-pop with impressive talent, though misses variation between tracks. 6/10

Published by Mason Oldridge, 16 April 2022 Fontaines D.C. pay tribute to their Irish roots, an attribute that both strengthens and hinders their third album Skinty Fia. In ár gCroíthe go deo, translating to “In our hearts forever”, is a haunting track, aided by the internal choir verse that repeats throughout the six-minute epic. The music slowly builds up to a drum and bass centre that further compliments the backing vocals. Unfortunately, the opener sets up false hope as what follows is a line-up of tracks that don’t impress. Although displaying a strong riff, the heavy guitars on Big Shot almost drowns out the vocals whereas the instrumentation on The Couple Across the Way is almost painful in a song that is centred on what sounds to be an accordion. Additionally, vocals are sub-par, drawing on the whiny sound of Britpop vocalists Gallagher and Albarn. As opposed to the heartfelt nostalgia felt in other albums that acknowledge an artist’s place of origin such as Keane’s Strangeland, Skinty Fia feels more like forced patriotism, evident in the Irish pronunciation in lead single Jackie Down the Line, as if the band feel guilty and are punishable for even leaving their home nation. 3/10

Published by Mason Oldridge, 9 April 2022 After dominating house music throughout the 2010s, the Scandinavian trio are back with a full-length debut. Opening tracks Time and Heaven Takes You Home sees the group utilise guest female vocals to create classic dance tracks that belong on a dancefloor. Jacob’s Note is a 60 second operatic piano piece that acts as a prelude to single Moth to a Flame featuring The Weeknd. The Canadian R&B star’s vocals work well and blend smoothly with the awesome backing beat. The record is heavier at times, evident with the sinister yet epic Mafia and club track Redlight, featuring Sting and sampling Roxanne, his song with The Police. The boys also integrate rap in their new music and, despite the poor vocals of A$AP Rocky, the energetic beat of Frankenstein elevates the song to be a highlight of the album. Lead single It Gets Better features cowbell, built on a beat reminiscent of The Chemical Brothers. Overall, the album sees the boys take a more experimental approach, akin to 2012’s Greyhound and Antidote as opposed to the more commercially successful Don’t You Worry Child and Miami 2 Ibiza, therefore superseding the band’s previous work. 8/10

Published by Mason Oldridge, 2 April 2022 Cabello’s unique selling point is her ability to beautifully blend classic Latin music with the vulnerability of modern pop music, something that shines in her third effort Familia. The 17-second title track is a trumpet intro that sets the scene for the album before blending into the chilled track of Celia. The standout of the album is Psycho Freak which encapsulates the modern anxiety of “no WiFi” and pressures of Instagram, justifying why female pop is dominating the musical landscape right now. Hawaiian vibes are felt from Bam Bam, accompanied by the acoustic guitar and guest vocals of Ed Sheeran. At times the Latin aspects can become slightly overwhelming such as on La Buena Vida, which risks the instrumentation drowning out the vocals. Diversity is offered through the distortion on Boys Don’t Cry and the slick bass on Hasta Los Dientes. Lead single Don’t Go Yet is a catchy pop song with fast paced vocals, a claim supported by its excessive radio airplay, whereas the two final emotional tracks bring the album to a nice close. Overall, Cabello’s talent is clear throughout the album though would be more prominent with less reliance on Latin influence. 5/10

Published by Mason Oldridge, 20 March 2022 Indie rock band Sea Girls return with their lockdown produced effort Homesick. From opener Hometown, we are introduced to the theme of nostalgia and memories, which continues throughout the album, regularly comparing the past and the present. Lead single Sick explores the difficulties and complexity of adulthood, culminating in a chorus of pleading to be a child again. Lonely builds upon Camamile’s personal experience of a previous breakup whereas Someone’s Daughter Someone’s Son addresses growing up. Paracetamol Blues is a definite highlight; a beautiful insight into a relationship and looking after each other. Lucky is another high point with a build-up that is complemented by Camamile’s powerful vocal performance. Cute Guys is the standout of the album with a slower pace than the others. The sinister acoustic guitar delicately works with Camamile’s chilling falsetto to produce a haunting track dealing with crippling fear. Ultimately, Homesick is a worthy follow-up and doesn’t have one bad song, a feature hard to find in a full album. The only criticism is the lack of experimentation as this band has the potential to take their music to another level should they branch out to new sounds and instruments. 8/10

Published by Mason Oldridge, 11 November 2024 Seven years on from lead singer Chester Bennington’s devastating suicide, the band have regrouped with a new lineup and go again, entering a new era, from zero. Taking on the role of lead singer is Dead Sara vocalist Emily Armstrong, who wastes no time in bringing her screamo ability to the record. Despite the changes, the newcomer’s harsh vocals balance nicely with Shinoda’s calmer tone and rap verses. The choice of a female lead may be controversial yet works in their favour as the duality of gender aids their sound. There is heavier instrumentation on singles The Emptiness Machine and Heavy Is the Crown but Casualty is the heaviest as the short and aggressive midpoint. Over Each Other and Stained incorporate pounding drums and Good Things Go rounds the tracklist off nicely in what are the more melodic and well-structured songs of the album. However, Overflow is the highlight. Adopting a more industrial sound, the track stands out from the rest with a haunting background before epic guitar plays the song out. With a strong set of new material, Linkin Park prove they can succeed with their new arrangement. 7/10

Published by Mason Oldridge, 24 October 2024 Tissues at the ready as there won’t be a dry eye in the house with this emotional fifth studio album from Halsey. The Great Impersonator appears to reference the multiple personality types one can exude, with Halsey citing “friend, lover, foe”. The record places the acoustic guitar as the primary instrument across the tracklist but also offers up an array of other sounds. Single Ego is the most commercial on the album, embracing an Avril Lavigne-esque punk rock feel while the influence of Evanescence is prominent on Lonely Is the Muse. Arsonist contains some interesting lyrics set to a trip hop beat before the piano-led Life of the Spider, which deserves a trigger warning for its heart-wrenching depth. However, Dog Years is the highlight. Opening on haunting guitar, the sinister track maintains a chilling sound throughout, with unique lyrics, an eerie chorus and a second verse akin to Radiohead before the instrumentation turns heavier on the bridge. There might be a few lulls and things get depressing at times but overall Halsey demonstrates her ability to create different atmospheres even if the tone is lyrically the same. 6/10

Published by Mason Oldridge, 14 October 2024 Confidence Man present their third studio album as the Aussie electropop outfit move to London. The group have entered the mainstream since the release of their previous record Tilt thanks to their duet with Swedish producer DJ Seinfeld on commercially successful dance track Now U Do, and this new album of theirs is simply full of dance bangers. The title is derived from their peak productivity time during late night writing sessions. The record is said to be influenced by the British rave scene of the 90s which can be heard throughout. So What touches upon Underworld’s Born Slippy, Breakbeat features the big beat sound of Fatboy Slim, Far Out echoes the early days of The Prodigy while Sicko opens to sounds reminiscent of The Chemical Brothers before unleashing an epic beat akin to Nine Inch Nail’s Closer. The title track closes the album and is the highlight, creating a euphoric sound of trance and psychedelia thanks to Janet Planet’s haunting vocals. There are even hints of Europop sprinkled within, though they maintain their own unique sound across the tracklist. The band may be from down under but this album is likely to elevate you to a joyous high. 8/10

Published by Mason Oldridge, 1 October 2024 Coldplay continue their Music of the Spheres series with their tenth studio album Moon Music, though the record is not quite out of this world. The title might suggest a cohesive sound throughout but there is actually great variation from track to track. Lead single feelslikeimfallinginlove is classic pop rock whereas follow-up single We Pray ventures into R&B, featuring several artists of the genre, though this experiment doesn’t work well for the reputable rock band. Jupiter puts acoustic guitar centre stage while the upbeat Good Feelings incorporates funk. Aliens Hits / Alien Radio opens with otherworldly sounds but goes off on a tangent before iAAM returns to the more standard commercial music with a positive attitude. Aeterna is dance-like with a sound reminiscent of Foals and All My Love is stripped back with Chris Martin at a piano singing honest lyrics. One World, despite its unnecessary length, closes the album with the prominent message of “in the end it’s just love”. Despite the album title, there is unfortunately no space rock. The album can feel bland at times, but if you accept that the rock band we once knew has moved into the pop landscape, some tracks can be enjoyed for what they are. 6/10

Published by Mason Oldridge, 24 September 2024 The indie rockers are back with their fourth studio album. Smitten is said to be influenced by lead singer Heather Baron-Gracie’s teenage diary and touch upon the themes of mixed emotions experienced during early relationships. Indie music bordering between rock and pop, the coherent sound throughout the album is dreamy, almost like a new age version of The Pretenders, the main difference being the clean production heard on this record. Unfortunately, there is little variation between tracks, at least sonically. Lead single Perfume has a slightly catchier hook than the others but surpassing all the singles as the standout is Kiss Me Again, mainly because it is the most memorable. No more than one track should’ve made the final cut however, due to the glaring similarities to each other. This disappointingly reduces the songs to mere background music. The band clearly have talent but need to branch out with their instrumentation to create an array of different sounds in order to produce a complete sounding album. 5/10

Published by Mason Oldridge, 10 September 2024 London Grammar are back with a new batch of indie tracks on their fourth studio album. The trio opens the record with lead single House, set to a drum and bass backing, followed by Fakest Bitch, an artistic, stripped-back piece with honest lyrics. Most recent single Into Gold acts as a ballad and is the standout track on the album. A slow burner, it gradually builds up towards a techno break with psychedelic influences. It also serves as a pleasant prelude to the title track, a Florence and the Machine-esque close to the record with gentle piano that gives way to heavier guitar, and higher vocals that create a more sinister atmosphere. Elsewhere, the rest of the songs in the middle of the tracklist are more typical indie music. On the whole, we are met with matched expectations of the genre. Reid provides beautiful vocals which are paired with clean instrumentation. Easy listening, nothing groundbreaking but an iron-clad talent demonstrated nonetheless. 7/10

Published by Mason Oldridge, 27 August 2024 After a long wait, Aaron Bruno and his band are finally here with what is likely their final album. You can tell it’s AWOL from the opening harsh vocals of Bruno playing over dancing keys on opening track and single Jump Sit Stand March, a duet with Emily Armstrong of rock band Dead Sara. The sharing of the vocals works well as Armstrong’s equally aggressive voice matches the abruptness of Bruno’s. There is a well-balanced mix of heavier and calmer songs on the record from the energetic Party People and the short and brash Bang Your Head to the hands swaying side to side lead single Panoramic View and the chilled out A Letter To No One with beautifully dreamy guitar. There’s also a nice inclusion of electronic sounds across the album too. I Am Happy features a rap from Del the Funky Homosapien set to an epic beat while When I Was Young contains distorted sounds and a post-chorus dance melody. Finally, the aptly titled closing track Outta Here feels like a typically AWOL goodbye thanks to its doom-ridden lyrics and lengthy outro. Overall, The Phantom Five succeeds with its harsh vocals, heavy instrumentation and clean production. 8/10

Published by Mason Oldridge, 25 August 2024 Former Disney star Sabrina Carpenter is all grown up and establishing herself as a pop princess. Short n’ Sweet is her sixth studio album and concludes a summer of dominating the charts with singles Espresso and Please Please Please. However, the pop heavy focus also welcomes touches of other genres as there is a pleasing variation between tracks. Latest single Taste opens the album with a rock feel whereas Please Please Please is much more dreamy. Good Graces adopts a R&B aura before Sharpest Tool provides a more stripped back offering. Coincidence contains acoustic guitar, Bed Chem offers chilled funk vibes and lead single Espresso takes centre stage with its bubblegum pop. Dumb & Poetic flips the mood as a slow song with haunting emotion, Slim Pickins incorporates a country influence, while Juno features some sexually explicit lyrics. Lie to Girls is heavenly with some unique instrumentation before Don’t Smile closes the album nicely with its dream-like sound. Overall, Short n’ Sweet is an album of clean production and strong vocals, a recipe for success. 8/10

Published by Mason Oldridge, 27 June 2024 Kasabian stay on top form with Serge Pizzorno in the driving seat once again on their new album Happenings. The band stated this album is “about pure joy” which is heard on the upbeat and fun singles. Call has been self-described by the band as “dance music” whereas Coming Back To Me Good evokes the cheery tones of Two Door Cinema Club. However, it is the darker and heavier album tracks that stand out as the best. How Far Will You Go is the heaviest on the album thanks to its fast paced electric guitar and pounding drums. G.O.A.T. is almost psychedelic and the light keys in the background add a layer of beauty to the song as Pizzorno cries “love will always find a way”, then Passengers carries weight with its murky guitars and central line “this is what you wanted”.  Hell of It is atmospheric with its sinister sounds, Italian Horror sounds like Kasabian’s take on a Halloween song, Bird in a Cage is electronic and incorporates techno sounds before last year’s single Algorithms sees acoustic guitar take centre stage as it closes the album. Although some may be better than others, this eighth release doesn’t contain a bad song, a sentiment echoed across the tracklist. 8/10

Published by Mason Oldridge, 25 June 2024 Camila Cabello trades in the Latin influences of her previous release for a more R&B approach on her new album C,XOXO, presumably named after her signature. This fourth record is a tale of two sides: the poorer R&B tracks and the stronger pop songs. Cabello similarly balanced two genres on her previous album Familia, which also saw the pop offerings come out on top. However, this time the negative aspects outweigh the few delights. For the most part, the album contains messy R&B tunes, often with damaging collaborations from artists of the genre, such as Playboi Carti, Lil Nas X and Drake. However, there are a few stripped back and cleaner tracks that show Cabello’s talent still exists. Twentysomethings is dreamy and features acoustic guitar, B.O.A.T. is a calmer piano song, Pretty When I Cry sounds like a dance hit and June Gloom is a gentle closer nicely contrasted with some funky electronic sounds. Cabello is a unique and talented artist, making it a shame to see the route this album has taken. There’s still potential left, providing she thinks carefully about which genres to explore next! 4/10

Published by Mason Oldridge, 21 June 2024 Imagine Dragons follow up their 32 track double album with a mere nine track sixth album Loom. There are a mix of heavier tracks, such as opening track Wake Up and lead single Eyes Closed, which are easily the highlights, and softer tracks like Nice to Meet You and Don’t Forget Me, which can be identified as the weaker tracks on the album. Take Me to the Beach evokes tropical themes and serves as a fun song whereas In Your Corner, set to a consistent drum beat, is more layered and arguably the most well-constructed song of the album. Gods Don’t Pray features reggae undertones in its backing beat, Kid is a Gorillaz-esque energetic and fast-paced tune that opens to a slick bassline and Fire in These Hills is a nice closer to the album with melancholic lyrics. While there is still strength in their music, it is still a shame to see these stadium rockers fully indulge in more commercially-friendly pop rock after their heavier first two albums. Furthermore, the short tracklist leaves the final cut feeling somewhat unfinished. The Dragons have put out another solid release, though the heaviness of their early days is ultimately missed. 8/10

Published by Mason Oldridge, 7 June 2024 Following a string of single releases, indie rockers Sea Girls are back with their third album Midnight Butterflies, a sweet metaphor for a vicenarian couple. The third release sees the band continue to utilise their secret weapon which sets them apart from the other indie rock bands in the saturated landscape: lead singer Camamile’s vulnerable vocals, with the single that has received the most airplay I Want You To Know Me highlighting this. Despite this, it is the album tracks that serve up the best talent. Horror Movies is enchantingly eerie, Scream and Shout is an emotional ballad sung over piano and After Hours is a particularly tearjerking closer. However, Superman is the standout. Camamile’s cries and screams along with the music creates a sense of urgency on what is the heaviest track. Overall, Sea Girls offer up a mix of both commercially-friendly indie songs that aren’t particularly memorable and more creative tracks with further texture to them, but all are aided by Camamile’s uniquely delicate vocals. 7/10

Published by Mason Oldridge, 4 June 2024 Electronic sounds dominate the new album from singer-songwriter Charli XCX, reminiscent of her early days as a featuring artist on Icona Pop’s I Love It. The album is intended to be a club record inspired by the illegal London rave scene she performed at during her teen years. Techno beats echo throughout the tracklist, though lead single Von Dutch is easily the highlight. Self-absorbed lyrics and grinding, driving electro make for a truly epic dance banger, with credit to producer Easyfun for the impressive production on the track. However, the majority of the songs feel saturated with varying electronic sounds rapidly changing and appearing randomly, making the production sound messy. Tracks such as 360 and Talk Talk follow a more traditional pop formula whereas Club Classics features wobble sounds and Girl, So Confusing contains a dark bassline. Sympathy Is a Knife is another heavier option before I Might Say Something Stupid is a reduction in pace, playing over an ambient backing. Overall, there are some promising sounds on the album, offering up strong potential, but ultimately the record feels unfinished and more like a work in progress. 5/10

Published by Mason Oldridge, 19 April 2024 If asked to name a French electronic duo, most people would probably say Daft Punk because of their international fame, though Justice, who achieved some success in the 00s   with their Simian remix We Are Your Friends and some singles from their debut album Cross, offer a more unique sound and are out to prove they’ve still got it. Their first studio album in seven years, the boys pair electronic music with disco and funk elements. The twosome have teamed up with Australian psychedelic musician Tame Impala on a couple of tracks, a collaboration that works well, especially on lead single One Night/All Night as Parker’s dreamy vocals play over the electronic beat. Generator is the highlight though as it carries Justice’s trademark heavier electronic sound. Unfortunately, some tracks see the disco and funk influences make for a much lighter sound and it feels as though they are losing grip of the heavier beat that sets them apart from their EDM contemporaries. Justice demonstrate their skill as talented producers once again, but only a handful of the songs could fire up a club. 6/10

Published by Mason Oldridge, 3 May 2024 Four years after groundbreaking previous release Future Nostalgia and following on from last year’s success with Dance the Night from the Barbie soundtrack, pop superstar Dua Lipa is here with her long-awaited third studio album. The titular term is referenced in the album’s artwork as it depicts Lipa in the ocean with a shark. Departing the electro pop sound of the predecessor, Radical Optimism incorporates dance and disco, as well as elements of psychedelia, thanks to co-production from Kevin Parker (Tame Impala). Parker’s influence is heard on lead single Houdini whereas follow-up single Training Season produces flashbacks to her sensational performance at the 2024 BRIT Awards. These Walls features an eerie sound, French Exit ironically sounds like Spanish music matched with an irregular drum beat, Falling Forever showcases Lipa’s prolonged and strained vocal abilities, Anything For Love strips the instrumentation back to piano to highlight Lipa’s talent and Maria is one of the catchiest tracks, matching acoustic guitar with epic feelgood flute sounds, before drum-centred Happy For You closes the album. Lipa has it all. The image. The moves. The personality. The voice. Dua Lipa is an artist of a generation. 10/10

Published by Mason Oldridge, 9 April 2024 Singer-songwriter Maggie Rogers trades in her heavier, electronic sound for a more stripped-back and relaxed third release. The album was produced in an unconventional way in that it was written across just five days in the winter and the songs were written in the order they appear on the album. Unlike the predecessor, there are no grinding guitars or pounding drums this time. Rogers opts for a more organic approach and succeeds in her goal of creating an album that suits a “Sunday afternoon”. The acoustic guitar takes centre stage as the primary instrument. The album is full of dreamy songs, with I Still Do breaking the pattern as a slow piano-led song, Never Going Home giving off country vibes and the titular album track and lead single Don’t Forget Me playing the record out nicely. On the whole, Rogers continues to demonstrate her multi-skill talent and it is admirable for her to change up from her previous sound, though it must be said that the heavier music she offered up before is dearly missed. 6/10

Published by Mason Oldridge, 2 April 2024 The American TikTok star who was discovered and signed by Imagine Dragons’ Dan Reynolds releases his debut album after the immense success of Beautiful Things. Boone carries his strong voice throughout the record with impressive vocals, balancing guitar, drums and piano. The standout is, of course, lead single Beautiful Things. The first verse builds up slowly to the outburst of energy on the chorus as Boone begs God to not take the beautiful things in his life. Be Someone is a fun opener leading on from the intro and follow-up single Slow It Down utilises playful keys on this piano-led track whereas Forever and a Day is a beautiful ballad that grows to a magical ending. My Greatest Fear features acoustic guitar, Hello Love incorporates strings and Love Of Mine is truly chilling. Unfortunately, there are no other songs as heavy as Beautiful Things… until closing track What Do You Want. Boone belts out the chorus over distorted guitar and pounding drums to close the album on a high. With a birth name already sounding like a stage name and his own sound channelled through this release with no bad songs, Boone’s debut is a glorious start to a promising career. 8/10

Published by Mason Oldridge, 11 March 2024 Just a mere five months after the release of her debut album, singer-songwriter Holly Humberstone is back with a follow-up EP. The record contains opening track and single Dive, title track Work in Progress, the upbeat and faster-paced Down Swinging and the acoustic closing track Easy Tiger. The silky chorus of Dive highlights Humberstone’s angelic voice, allowing you to feel like you’re transcending to a higher fantasy world. However, musically and lyrically, Down Swinging stands out from the others. The increased tempo catches your attention and there is a sense of fighting talk, referencing stress dreams and panic attacks before proclaiming “but I’m going down swinging”. Furthermore, Easy Tiger is a beautiful composition, aided by the stripped-back instrumentation. Humberstone’s uniquely gentle vocals continue across this EP in what feels like a continuation of Paint My Bedroom Black. Also like her debut, there is a delicate blend of clean production and dreamy vocals. With her own artistic vision about her and keeping at the same quality as her previous release, Humberstone has done it again on what is hopefully a stopgap between albums. 7/10

Published by Mason Oldridge, 9 October 2023 After a recent few years of success, Holly Humberstone is back this time with her LP debut. An album of downtempo pop, Paint My Bedroom Black is a fitting title for this record of heartbreak and self-criticism. It might give off emo vibes but that doesn’t extend beyond the lyrics. Instead, what we get is a breath of fresh air with balanced instrumentation and clean production met with vulnerable and gentle vocals. Antichrist is a decent lead single though it is ballad Kissing In Swimming Pools that is the highlight. Complimented by an acoustic guitar, it tells of a desire for intimacy. There may not be a great amount of variation between tracks, though this helps spotlight Flatlining as different from the rest, featuring experimental sounds that mimic the beep of a heart rate monitor. Unfortunately, none quite reach the heights of past singles such as London Is Lonely and The Walls Are Way Too Thin, which sadly haven’t been tagged onto this release. Having established her unique sound, Humberstone runs with it on this debut of hers and demonstrates clear talent across the tracks, solidifying her place in the industry. 7/10

Published by Mason Oldridge, 10 March 2024 Singer-songwriter Caity Baser unleashes her first full length release, though there may be good reason for a mixtape rather than a studio album. The record is full of energetic pop songs but, while some are rather catchy, the overall end result is let down by chaotic production, overpowering vocals and childish lyrics. Baser has previously mentioned that she doesn’t care about public opinion on her music, and while there is a similarity to Lily Allen about this, the effort to present this attitude comes on a little strong in what feels like a big middle finger to the world. With topics such as pretty boys and polygamy and overly explicit lyrics, the tracks feel more aligned with high-school experiences than that of a 21-year-old musical artist. Compared to her contemporaries such as Mimi Webb and Tate McRae, there is a lack of maturity and artistic vision on the collection. However, this makes Showgirl the standout. Stripped back with a lounge feel to the track, this song of female empowerment is the highlight. Mixtapes and EPs might be the right choice for now as she is indeed “still learning”. Potential is demonstrated though, and with more refined production and a more adult approach, her debut album could be in the pipeline. 5/10

Published by Mason Oldridge, 26 February 2024 The name might sound lazy but the boys are far from it as they give it their all on their easy eighth album. Weeks after lead singer Ricky Wilson’s hilarious surprise appearance on Michael McIntyre’s Big Show, the Yorkshire lads release the rest of their latest record following a string of singles. The album opens strong with Feeling Alright, an energetic feelgood song, and the good vibes continue on uplifting dance track How to Dance. There is a nice variety between tracks to clearly differentiate each one from another, incorporating multiple genres, all the while remaining unmistakably Kaiser Chiefs. The Job Centre Shuffle is ska-esque akin to Madness, Burning in Flames features strings, Reasons to Stay Alive and Noel Groove are heavier options with an epic bassline whereas The Lads is typical indie rock. With a mix of heavier sounds connecting them to their indie rock origins and softer, happier songs likely to appeal to a large mainstream audience, the lads have done it again… and made easy work of it. 8/10

Published by Mason Oldridge, 27 February 2024 Art rock band Everything Everything move away from the digital sound heard on their previous release in favour of a more synthetic sounding concept album. Mountainhead tells of a society focused on building a mountain despite the build resulting in them digging a hole in which they live and acts as a metaphor for capitalism as the labourers sink lower in dangerous conditions so the rich remain at the top. The theme is carried in the songs, notably lead single Cold Reactor and its topic of cold fusion. Buddy, Come Over is the highlight, with eccentric lyrics and a burst of energy on the chorus over haunting guitar. R U Happy? questions the emotional effect on humans set to an ambient background reminiscent of Radiohead’s Kid A work. The Mad Stone is somewhere between enchanting and sinister with its string sounds whereas Canary touches upon nature, with the chorus set to an almost trap-like beat. Everything Everything continue to utilise their unique sound and avant-garde approach to music, paired with Higgs’ impressive and standout vocals to make for another artistic piece that capitalises on their individualism. 8/10

Published by Mason Oldridge, 23 February 2024 Swedish pop superstar Zara Larsson is back with an album full of dance-pop bangers, with a couple of slower songs thrown in for good measure. The album opens strong with lead single Can’t Tame Her. Several other catchy pop songs follow, including None of These Guys with a beat that instantly pulls you in, strings-based End of Time and the standout You Love Who You Love. Production values on these tracks are high, ensuring a prominent dance element throughout, and demonstrate Larsson’s impressive vocals. Unfortunately, the album’s quality tails off towards the latter half, with less memorable pop tracks. The slower songs such as Soundtrack and closing piano track The Healing are not the best, which is disappointing having just witnessed some of Larsson’s best work since her 2015 summer anthem Lush Life. Despite being a tale of two halves, Venus contains some of Larsson’s strongest material to date and this 26-year-old pop sensation shows no sign of stopping keeping up with the best pop music going. 7/10

Published by Mason Oldridge, 6 February 2024 Declan McKenna leaves behind his heavier electronic rock sound for something lighter in which he attempts to relieve pressure and have fun following his time in California. The musical departure is evident on lead single Sympathy, an experimental yet enjoyable piece. Opening track Wobble inhabits ambient sounds, Elevator Hum features dreamy vocals, I Write the News is artistic despite slipping back into his political and social commentary, The Phantom Buzz (Kick In) carries heavier instrumentation reminiscent of his previous album Zeros whereas It’s an Act is a atmospheric, sinister and therefore fitting closing track, yet Nothing Works is the highlight. A burst of energy, this track is classic Declan. While this third effort doesn’t lack creativity, most tracks don’t quite live up to the excitement of its predecessor. However, this is partly due to the high standards set by prior discography and the unique talent already demonstrated by McKenna. With an impressive back catalogue under his belt, the young superstar, with his exuberant and flamboyant personality, is likely to continue to shine with What Happened to the Beach? 7/10

Published by Mason Oldridge, 13 February 2022 AITNTFA provides easy-listening tunes but nothing special in an effort that resembles the band’s self-proclaimed influence Talking Heads. The album starts off promising with funk elements in opener “Am I Really Going to Die” while McVeigh sways between questioning and denying mortality. The titular track serves up a pleasant backing beat but lacks emotion; however, I Don’t Wanna Go to Mars is definitely the standout track. The memorable vocals matched with pounding guitar places this single as the highlight. Unfortunately, Roll December fails to justify its almost 7 minute length, a composition that really requires a rhapsody of multiple sections like Radiohead’s Paranoid Android or Muse’s Knights of Cydonia. Disappointingly, there is not enough variety between tracks to give meaning to the tracklist order; an element important in providing a narrative and turning a random selection of songs into a story-telling vehicle. In a landscape saturated with indie rock, a band has to convey a particular uniqueness to separate them from the rest which White Lies, although provenly talented, appears to lack, running the risk of fading into the background behind more prominent groups. 4/10

Published by Mason Oldridge, 5 December 2023 Canadian pop superstar Tate McRae follows up last year’s debut with her sophomore LP Think Later. The album features some incredibly catchy pop songs, often matched with heavy sounds and trap beats. The record opens strong with Cut My Hair, followed by a balanced variety throughout. Singles Greedy and Exes are short and sweet with a high likelihood of becoming earworms, Grave strips back the music to place McRae’s talented vocals at the forefront whereas Stay Done mixes up the instrumentation to feature acoustic guitar. We’re Not Alike is one of the best as a song of betrayal with vocals ascending the scale on the chorus, though Messier is the true highlight; set to an immense drum beat, this track features heartwrenching lyrics with McRae’s vocals matching the raw emotion. Furthermore, Calgary is a nice nod to McRae’s stunning home city while Plastic Palm Trees closes the album nicely. Launching with a risque album cover, McRae is building a strong public image for herself, armed with confidence plus likability. With OneRepublic’s Ryan Tedder at the helm as lead producer, production is as strong as the talent McRae exudes. This is empowering 21st century female pop at its best. 9/10

Published by Mason Oldridge, 30 November 2023 The Killers celebrate 20 years with 20 songs spanning their entire discography, with the artwork a nice nod to their Vegas origins. The compilation opens with tracks from their debut album Hot Fuss, one of the best alternative rock albums of all time, including the era-defining Mr Brightside. Fan-favourite Jenny Was a Friend of Mine makes the cut despite not being a single but unfortunately Smile Like You Mean It is omitted. What follows is highlights from Sam’s Town, Day & Age, Battle Born, Imploding the Mirage and Pressure Machine, including hit single When You Were Young, dance track Human, timeless The Man and a retrospective on Flowers’ childhood Quiet Town. Some singles such as Bones are left out in place of emotive ballad Be Still, providing variety. The album closes with a trio of new songs, bursting with new energy and infused with synth reminiscent of their Hot Fuss era. These are reportedly from the band’s scrapped new album so luckily these gems have been able to find a home on this greatest hits compilation. The Killers are one of the greatest bands ever and, although some songs are better than others, this roundup showcases their unique sound and talent. 9/10

Published by Mason Oldridge, 23 October 2023 New wavers Duran Duran introduce their Halloween-themed album after their 31st October gig in Las Vegas last year. The concept album contains a mix of new songs, covers and reimaginings of past songs, maintaining a cohesive sound throughout. Their efforts for a fun record can be heard and the spooky theme is identifiable too, with some eerie sounds akin to their sinister sounding 1993 hit Come Undone. Some tracks carry strong energy such as the title track and the unexpected cover of Billie Eilish’s Bury a Friend. Le Bon’s vocals might not suit this 21st century hit but it is elevated by the heavier instrumentation that keeps it fresh. Other features feel more dated however; guest guitarist Nile Rogers brings his Motown-inspired funk and soul feel to Black Moonlight, leaving the single feeling more like it belongs in the 70s with its unoriginal lyrics, whereas their mashup between an old non-single and the Rick James hit song Super Freak is a chaotic pairing with an unnatural transformation. Overall, the new album is messy and a bit too stale for a place in today’s musical landscape. 4/10

Published by Mason Oldridge, 29 September 2023 After last year’s country-infused album Cowboy Tears, Oliver Tree returns to his hip-hop inspired pop sound with his third album. Alone in a Crowd is somewhat genre-bending, incorporating hip-hop, electronic, acoustic guitar and piano in the mix, making for a record of refreshing production. The album opens with the lead singles which are some of the most catchy, including the highlight One & Only thanks to its trumpet-based hook. Tree tries his hand at rapping too, over a trap beat on Fairweather Friends, over an ambient beat on Smile and over what can only be described as sounding like a whistling bird on Ugly Side. Furthermore, there are some strong electronic songs in Strangers and Elevator to the Sky as well as dreamy tracks such as Invisible Man and With You. The collection closes on the dance banger Miss You, a dance remix by Robin Schulz of a non-single from Tree’s debut album. Tree’s eccentric persona might split opinion, though he is undeniably unique, which shines through in his music too, resulting in a particularly varied discography. In conclusion, Alone in a Crowd contains some of Tree’s best work and deserves more exposure and radio airplay than given. 7/10

Published by Mason Oldridge, 26 September 2023 Jorja Smith is back with her follow up album - adopting a lounge feel with jazz and R&B influences. Smith proves she has talent in her voice, but rather than utilise it, her sublime and calming tones take a backseat to more pronounced whiny vocals. Therefore, the instrumentation is the best element of the record, with some interesting sounds heard throughout. Little Things is incredibly repetitive, Feelings suffers due to J Hus’ abysmal vocals on the chorus and dreadful rapping, the skits serve no purpose and Try and Fit In is over before it starts. Furthermore, the remainder of the tracks are all too similar to tell them apart and so Go Go Go is easily the standout, due to being the best of a bad bunch. The single trades in jazz for an acoustic guitar set to a catchy beat, making for a decent track. Not all hope is lost as Smith still offers a glimmer of potential, but here on her sophomore album, it does not break through. 2/10

Published by Mason Oldridge, 8 September 2023 Pop superstar Olivia Rodrigo is back with her follow-up album, two years after her debut which shot her to international recognition. Like her predecessor, Rodrigo delicately balances piano ballads and angry rock songs while mastering the vocals on both halves. Additionally, the tracklist is full of unique and clever lyrics and excellent instrumental production, aligning perfectly to the themes of heartbreak and anger felt throughout the record. GUTS details Rodrigo’s whirlwind final year as a teen and is named after the idioms of “spill your guts, hate your guts”. Opening track All-American Bitch incorporates punk rock, drawing heavy comparison to the skater boy days of Avril Lavigne while Bad Idea Right? chronicles giving in to temptation with a toxic ex. Lead single Vampire is easily the standout of the album; this piano ballad demonstrates what a perfect song sounds like and is nothing short of a 21st century masterpiece. Lacy is a beautiful dreamy song about idolisation, Ballad of a Homeschooled Girl is (confusingly) an epic pop rock song about lacking social confidence, Logical contains some of the most innovative lyrics, Get Him Back! is a super catchy pop song, Pretty Isn’t Pretty tackles self-worth and Teenage Dream provides an angelic closer to the album. Rodrigo is an absolute megastar with unmatching talent, she is like a new age Taylor Swift yet with more individualism. Matching the emotional depth of Sour, GUTS is simply a perfect album. 10/10