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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, 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, 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

Published by Mason Oldridge, 2 September 2023 Superstar DJs The Chemical Brothers are back with another collection of those block rockin’ beats on their tenth album. The intro, a remix of the titular closing track, ropes you in with distorted vocals repeating over a pulsating dance beat. Lead single No Reason is the standout of the album, as the marching band drums collide with slick bass and the brothers’ trademark sounds to make for a recognisable centrepiece. Furthermore, Feels Like I Am Dreaming is one of the better tracks too thanks to its gripping sample, heavier beat and sinister bridge. Unfortunately, a fair few are a bit too similar to each other to stand out on their own. Musically, the album continues the duo’s latest era, with more instrumental and sample led songs similar to their previous release, in contrast to the more lyrically structured Born in the Echoes and We Are the Night. Despite this, no song reaches the heights of predecessor No Geography, which affirmatively confirmed the brothers’ continuing strength in music production. In conclusion, Rowlands and Simons demonstrate confidence in sticking with their traditional sound rather than conforming to the ever-changing dance music landscape, proving their staying talent in the process. 7/10

Published by Mason Oldridge, 25 August 2023 Royal Blood go back to the water below for their fourth album, following their controversial appearance at Radio 1’s Big Weekend earlier this year. The album opens with a burst of explosive energy on opening track and lead single Mountains at Midnight, whereas the acoustic guitar and falsetto lyrics on Pull Me Through marks a change in their trademark sound, making it a surprising choice for the second single, still it doesn’t disappoint. The Firing Line carries a sense of impending doom on the verses that culminates in sorrow rather than danger on the chorus, Tell Me When It’s Too Late is arguably the heaviest on the album and There Goes My Cool gives off 70s vibes almost reminiscent of David Bowie. Waves is a nice reduction in pace, incorporating piano into the instrumental lineup to make for an impressive closer to the record. There is some variation between tracks, though perhaps not spaced out the best, leaving the middle of the tracklist feeling somewhat saturated, with some tracks likely underappreciated. Overall, the duo present a decent handful of their usual heavier tracks while demonstrating talent on the calmer tracks too. 7/10

Published by Mason Oldridge, 4 July 2023 Alternative rock band Nothing But Thieves are back with their new studio album, this time incorporating dance and electronic music. The album opens with lead single Welcome to the DCC, a dance banger that introduces us to the fictional city that represents this new era. Their traditional sound is more embedded in the other singles that follow, though it is upon reaching the other album tracks around the middle of the tracklist where a more electronic sound can be heard. City Haunts showcases Mason’s well known falsetto, Green Eyes :: Siena is a slow and sweet love song and Foreign Language touches upon synth. However, it is closing track Pop The Balloon which is easily the standout. With heavy bass and distorted vocals, this is truly a return to form reminiscent of the heavy rock sounds from the previous Moral Panic era. Its apocalyptic lyrics and obscure sounds create a sense of impending doom and the dreamy calm-before-the-storm bridge is a tense build up to the explosive ending. Dead Club City has a nice concept feel to it and contains songs some good, some forgettable and a couple epic. 7/10

Published by Mason Oldridge, 9 June 2023 German rock band Milky Chance are back, combining their traditional chilled sound with dance and electronic. The title track opens the album by incorporating dance music. Also the lead single, it sets the tone for the record as Clemens wishes of being “a disco boy”. Purple Tiger plays over a drum and bass beat with distorted falsetto vocals on the chorus to make it stand out, Synchronize is centred around a full on dance beat and Flicker in the Dark brings the tropical Caribbean vibes. Like a Clown is incredibly experimental, touching upon electronica and ambient, History of Yesterday is a sweet duet with both vocalists complimenting each other's voice beautifully, whereas Frequency of Love is an eerie closer that brings the album to a slow tempo end. In conclusion, Living In A Haze is the boys’ most varied work to date, incorporating an array of different genres like never before, while keeping their trademark dreamy sound at the helm and still utilising Clemens’ unique gravelly vocals. 7/10

Published by Mason Oldridge, 21 March 2023 Fall Out Boy are back with a new album for the first time in 5 years after their mixed reviews predecessor. The album opens on lead single Love from the Other Side, a heavy burst of energy with apocalyptic lyrics and Stump’s incredible and instantly recognisable vocals, heard from the opening note. Unfortunately, not much variation is offered in the following tracks. Despite this, it doesn’t mean they are bad by any means, just a tad repetitive, and there are some that stand out from the rest. Heaven, Iowa is the standout track. This epic ballad grows from melodic vocals over a simplistic beat to an emotional outpour on the second chorus with lyrics alluding to Romeo & Juliet. I Am My Own Muse offers a beautiful uniqueness too thanks to its abrupt strings, which compliment the contrasting guitar and drums fantastically, whereas Hold Me Like a Grudge can be identified by its slick bass. The album closes on the title track, a compelling song with an intergalactic feel, built upon rolling piano reminiscent of Muse’s Origin of Symmetry. This album may not be remembered for centuries, but the few highlights make up for the lack of differentiation. 7/10

Published by Mason Oldridge, 14 March 2023 There is dreamy synth aplenty as the French electronic outfit returns with their ninth studio album. Leader of the project Gonzalez abandons commerciality in favour of making music for himself, fusing guitar and synth to make for otherworldly shoegaze, produced by jamming sessions. Where there is no place for the tracks on contemporary radio, the music is perfect for a cinematic soundtrack with a solid ability to set or match the atmosphere of any particular scene. Sounds are not dissimilar to that of Tame Impala, with the more ambitious audio touching upon Aphex Twin. Furthermore, setting the vocals against a silky backdrop draws comparison to The 1975. Kool Nuit is the standout of the album, an almost 8-minute composition offering strings and haunting vocals before building up to create a feeling of impending doom. Unfortunately, there is not enough variation between the rest of the tracks to differentiate them from each other. In conclusion, M83 demonstrates incredible talent producing such layered pieces, though only works as soundtracking or backing music, leaving it unlikely to impress listeners. 5/10

Published by Mason Oldridge, 28 February 2023 Following on from a string of successful singles, pop star Mimi Webb releases her debut album Amelia. Webb said she wanted to display the two sides of her: Mimi the performer on stage and Amelia the country girl in her home life. The LP is full of catchy and enjoyable pop songs, and although Webb’s vocal style is similar to that of Tate McRae, she displays enough talent to hold her own. Unfortunately, the similarities between tracks sees the collection become somewhat saturated in the same sound, though this helps outline the more stripped back songs such as Roles Reversed. Last Train to London is definitely the standout of the album. With heart-wrenching piano and emotional lyrics, Webb’s incredible and powerful vocals are highlighted and bound to stun audiences to mesmerised silence. Is It Possible is also a nice change in sound, incorporating strings, drums and guitar. The titular track plays the album out nicely as Webb talks to her younger self over an acoustic guitar. Overall, Amelia is a strong debut with a nice yet a tad uneven blend of energetic pop and slower songs that emphasise Webb’s existing talent and growing potential. 7/10

Published by Mason Oldridge, 27 January 2023 After years as a featuring artist and making a name for herself, the London singer-songwriter reaches the milestone of her debut album chronicling her 21st century experiences. Raye incorporates a multitude of genres on this release. There’s a prominent R&B influence on the record, heard on the likes of Hard Out Here and Flip A Switch, as well as jazz on The Thrill is Gone, gospel on Buss it Down and drum’n’bass on Environmental Anxiety, which has what can only be described as Crazy Frog sounds throughout. Black Mascara is an epic dance track sounding like a CamelPhat production and most successful single Escapism tells of post-breakup debauchery over a trip hop beat. The most honest tracks are the standouts; Ice Cream Man is about being a strong woman against unwanted and inappropriate male attention and Body Dysmorphia features cutting lyrics on the titular condition. Unfortunately, these few gems are embedded among several unmemorable tracks that will likely fade as background noise. Despite this, this shouldn’t take away any merit from the songs that demonstrate talent and potential from this up and coming musical artist with her own uniqueness about her. 5/10

Published by Mason Oldridge, 13 January 2023 Italian rock band Måneskin release their third studio album amidst their Loud Kids Tour, following on from their international success after winning Eurovision 2021. David represents the voice of Gen Z with topics on sex and debauchery, as well as infatuation- heard on single Supermodel, loss- on the incredible closing ballad The Loneliest and war- on the track Gasoline, supporting Ukraine following Russia’s invasion. The quartet also bring new experimentation as promised with the new release, such as vocal distortion on opening track Own My Mind, which sets the energy for the rest of the album, sarcastic hatred on Bla Bla Bla and punk vocals on Kool Kids. We are also treated to three new Italian-language songs. Arguably the most romantic language in the world, these highlight David’s gravely vocals and incredibly skilled voice control. Not only does Damiano David have the charm and charisma of an excellent frontman but he is the best vocalist of a generation. With too many amazing songs to single any out, I don’t know what needs to be released this year for this to not be the best album of 2023. 10/10

Published by Mason Oldridge, 18 October 2022 Four years after disappointing audiences with Tranquility Base Hotel & Casino, the boys are back with a brand new sound- but how will fans feel about the change in direction once again? The album opens with lead single There’d Better Be a Mirrorball, showcasing a drastic change as the slow tempo song encompasses jazz and strings, with a Vegas lounge vibe. The single is rich in sound like their previous album and is a rather artistic piece from the band. Unfortunately, the rest of the tracks are very similar, amalgamating with each other until you can’t tell the difference between them. There are no heavier songs among the collection to differentiate the tracks from each other either, leaving them to fade into the background. The one that stands out from the crowd, however, is Sculptures Of Anything Goes. Gripping from the start as it opens to sinister bass and building at a nice pace, it offers a nice variation on a somewhat one-trick album. Overall, the music is not bad by any means, just not varied, and their fanbase won’t find anything reminiscent of the band’s early days or fan-favourite AM album. 6/10

Published by Mason Oldridge, 14 October 2022 The boys are back after cancelling their 2021 tour but is their new album, as their upcoming tour suggests, The 1975 at their very best? The band’s classic sound can be heard on an array of tracks such as Happiness and Oh Caroline. I’m in Love with You pleases in its simplicity and has become the seemingly most popular and heavily played single from the collection. It is nothing ground-breaking but it is so dreamy and catchy you can’t help but sing along. Furthermore, these highlight the slower songs on the album. All I Need to Hear is a sweet lullaby whereas Human Too showcases Healy’s beautiful vocals against a downtempo backdrop of instrumentation. Part of the Band, released as the first single, offers a departure from their traditional sound, incorporating strings and folk. While it is still enjoyable, it is a shame that the album doesn’t feature a more shocking change like the band have previously opted for, such as the screamo track People or the distortion based Give Yourself a Try. Despite this, the band still shines. Although many tracks sound similar, none are bad, and you can’t help but praise the group on their incredibly pleasing unique sound. 8/10

Published by Mason Oldridge, 7 October 2022 In the ever-competitive landscape of female pop right now, Tove Lo rises to the challenge with her latest album Dirt Femme. Dirt Femme sees Lo embrace her feminine side amid addressing her pansexuality in line with her marriage to her boyfriend. The record is a powerful piece of electropop with strong vocals and blaring synth. Pure energy is felt through the lively electronic tracks; lead single How Long is set to an incredible dance beat, Kick in the Head features some catchy humming and 2 Die 4 samples the synthpop classic Popcorn. The epic electro also provides a beautiful contrast to the slower songs on the album too. I’m to Blame is an emotional tragedy set to haunting acoustic guitar and piano whereas True Romance is set to a dark beat and highlights Lo’s sensational vocals that prove why she deserves to be the voice over such epic production. The lyrics and subject matter are impressive too. Suburbia focuses on Lo not wanting children and Pineapple Slice features sexualised lyrics to make for a very seductive song. Overall, every song on the album is fantastic which is so rare to achieve; this is truly female pop at its absolute best. 9/10

Published by Mason Oldridge, 17 September 2022 Aussie pop rock band 5 Seconds of Summer are back with their fifth release, offering up easy listening but nothing ground-breaking. The album opens with strong energy in its lead single Complete Mess. This attribute can be found elsewhere throughout the tracklist as Me, Myself & I is a catchy tune and Blender is a particularly fun song set to a fast pace. There are also some more emotional and calmer tracks embedded among the collection as there is some melodic falsetto on Easy for You to Say and a slow tempo on Older, a sweet duet with Sierra Deaton on the fears of growing up. Furthermore, there’s some intriguing sounds to be heard on the likes of Haze and Caramel, the latter of which is somewhat dreamy. Despite these positives, the album feels overloaded, as if there are too many tracks that don’t all hold up on their own with enough individualism, falling fowl to a common trap in the industry. A more condensed record would work better as too many fade into the background as unmemorable. This should not take any credit away, however, from the stronger tracks, which do offer some merit. 6/10

Published by Mason Oldridge, 6 September 2022 Robbie Williams celebrates his 25th anniversary as a musical superstar with orchestral reworkings of his greatest hits, an intriguing yet somewhat unnecessary project. Ranging from his breakout single Angels to his latest phenomenon Love My Life, the wise decision was made to include a vast array of Williams’ back catalogue as opposed to solely the classics, which too are nice to hear again. However, while these orchestral mixes are well produced, they heavily resemble the original versions, with the only noticeable differences being the additional strings and vocals of an older Robbie. As this is the case, it makes more sense to listen to the originals, which have a much wider selection of instrumentation. Despite this, it is interesting to hear how they have moulded such favourites to belong in the Royal Albert Hall. While some such as Millennium and Bodies were already orchestral to a certain degree, it is fascinating to hear how the more rock-orientated singles such as Kids have been modified. In conclusion, despite the reworkings offering only minimal change, it is still refreshing to hear such a fantastic discography in a new light. Ultimately though, the originals are still majorly better. 6/10

Published by Mason Oldridge, 22 August 2022 Tom Chaplin is one of the greatest vocalists ever, though while his voice remains strong, his energy does not. After a decade of overwhelming success as the frontman of Keane, Chaplin released his debut solo album in 2016 documenting his struggles with addiction, proving his songwriting talent without lyricist bandmate Rice-Oxley. Midpoint focuses on the difficult questions that one can ponder upon reaching the daunting stage of mid-life. This was an opportunity to prove that growing old doesn’t mean slowing down is inevitable, though instead did just that. When Keane reunited in 2019 with a new album, the group demonstrated renewed passion and brought with them a newfound electricity to their performances. Unfortunately, Chaplin hasn’t kept this for his latest record. Credit where it’s due, latest single Gravitational stands out from the rest and is a beautiful capture of Chaplin’s love for his family with a catchy chorus that holds up and a lengthy outro to round off the piece. Overall, Chaplin’s lyrics are still amazing and his vocals are still phenomenal, with a cleaner, fresher sound to them, though this just makes the bland instrumentation all the more disappointing. 4/10

Published by Mason Oldridge, 20 August 2022 Muse are on top form with their new album, a mixture of all their previous sounds. The album opens on the title track, an anthemic chant of democracy, before Compliance, an intriguing electronic piece as the lyrics and video suggest the song is a criticism of the pandemic restrictions. Liberation is an operatic masterpiece in the vein of Origin of Symmetry whereas Won’t Stand Down touches upon metal and earns its place as lead single. You Make Me Feel Like It’s Halloween is the standout of the record, incorporating organ sounds to make for the perfect spooky soundtrack. Latest single Kill or Be Killed is Muse at their heaviest. Based upon an industrial riff, its energy matches the likes of Stockholm Syndrome. Verona is a beautiful ballad with lyrics that align with Romeo & Juliet before Muse close the album with We Are Fucking Fucked, a message of our impending doom, providing an insight into the trio’s perspective of the current state of the world. Will Of The People stands equivalent to Muse’s best work. Close to a perfect album, every song is amazing and narrowly misses a 10 as Bellamy’s screamo falsetto from the early days is missed. 9/10

Published by Mason Oldridge, 5 August 2022 Master of synth Vince Clarke spent his newfound time in the studio manipulating files from the duo’s previous effort The Neon, to which Bell recorded new vocals, culminating in a whole new album that offers up otherworldly sounds. The record contains minimal lyrics, with many tracks largely instrumental. This is evident in the opening song Based On A True Story, which is composed of an array of electronic sounds over a forever growing beat. From the opening bar of Bop Beat, we are immediately greeted with the unmistakable synth-pop sound of the pair. This track sees Clarke’s trademark synth matched with Bell’s distinguishable vocals prove to be a rewarding combination once again. Harbour Of My Heart and 3 Strikes and You’re Out see the theme of love return before The Shape of Things and The End wind the album down with a slower pace, though Inside Out is the central highlight of the new material. Holding an energy of its own, Bell’s repetitive vocals play over a fast-paced beat. In conclusion, the vast range of different electronic sounds in addition to the dreamy vocals give deserved credit to the latest from the twosome. 6/10

Published by Mason Oldridge, 22 July 2022 Singer-songwriter Maggie Rogers is back with her second album, though chances are you’ve never heard of her. With this new release, she’s gaining more mainstream attention… and fully deserves it. Surrender is a female pop album with a difference: it is built upon rock music. Singles That’s Where I Am and Want Want are the standouts of the record, offering up pounding drums and grinding distortion. Horses is a truly beautiful song with emotional vocals delivered over a simple drum beat. Be Cool catches attention with its synth opening and Shatter instantly grips with its immediate distortion and constant energy throughout, courtesy of the electric guitar. Begging For Rain is a nice reduction in pace as an acoustic guitar track while still maintaining some minor distortion as backing and I’ve Got A Friend blends the acoustic guitar with piano and sincere, vulnerable vocals, while Symphony is a really intriguing piece with unique high-pitched sounds. Rogers scores a hat trick with her latest work; she is a powerful vocalist, lyricist and multi-instrumentalist. Unfortunately, the vocals overpower the production at times, but with such a broad range of instrumentation, Surrender offers strong variety demonstrating raw talent. 7/10

Published by Mason Oldridge, 8 July 2022 The female pop market is arguably the strongest it’s ever been and Mabel both sinks and swims at times in the cutthroat competitive industry with a decent follow-up to her debut. Following the intro, the album starts off strong with Animal. This record is full of pop songs with dance beats but Animal incorporates distorted strings, providing an extra layer with a sound that separates it from the rest, and outperforms the singles of the album, which lack unique elements. The rest is a mix of ups and downs. Definition is a self-love song built on an incredible dance beat whereas Overthinking is ruined by featuring artist 24kGoldn’s poor, whiny vocals. The album picks up towards the end; Crying on the Dance Floor begins the renaissance before the epic I Love Your Girl. When The Party’s Over is a nice reduction in pace before the final track LOL, which is the standout of the album as a pop hit based around dance-infused cowbell. Overall, the impressive highlights compensate for the poorer tracks and solidify Mabel’s spot as a pop star but we need to hear more of these for her to stay up on the podium. 6/10

Published by Mason Oldridge, 28 February 2022 Fresh on the scene, Kawala bring a mix of indie and dream pop with their debut album Better With You. Tracks such as Ticket to Ride and Good Like This provide a relaxing soundtrack of dreamy wonder to soothe the soul without being boring enough to send you off to sleep. This calming tone is broken up with alternative tracks such as energetic and fast-paced Jesse C’mon which creates a more exciting and upbeat atmosphere and the catchy Hypnotized, which contains psychedelic elements to match its title. Searching, one of the singles, is recognisable due to its radio airplay and is one of the better songs among the selection, preceding Marathon, a highlight of the album that adopts an Hawaiian theme and is reminiscent of a song you’d expect from Milky Chance. Sailor sounds like something produced by a group of hippies gathered around a campfire though the acoustic effort doesn’t omit thought and dedication, where Echoes is defined by the stellar falsetto on the chorus which creates a nice balance to the latter half of the album. Overall, Kawala demonstrate talent and own their unique sound in a decent first effort. 5/10

Published by Mason Oldridge, 19 February 2022 18 years on from their previous effort, Tears For Fears overcome fallout and heartbreak to produce comeback album The Tipping Point, which offers an array of new sounds while still being comfortingly reminiscent enough of their traditional synth-pop trademark. Lead single The Tipping Point encapsulates a dreamy pop sound that mirrors the bridge between life and death, the subject of the lyrics based on the death of Orzabal’s wife. From the dance-orientated Break The Man and the rock-infused My Demons to the slower Rivers of Mercy and the jazz elements of Please Be Happy, the duo aren’t afraid to mix up their sound which can only be a positive. The highlight surprisingly comes towards the end with End Of Night which is full of pounding energetic synth from start to finish. Stay isn’t particularly memorable but rounds off the album nicely and is a fitting end to a record that overall is a highly satisfying return of a band four decades on after shaping the soundtrack of the 80s. 7/10

Published by Mason Oldridge, 10 June 2022 Foals once again prove why they are at the top of the indie game right now with their new upbeat album Life Is Yours. The funk-infused seventh effort opens with the title track which delivers the positive message “life is yours, break away”. An awesome launch to the album, the track stands out as a highlight instantly, where lead single Wake Me Up does exactly what it says on the tin, with blaring rhythm from start to finish, aided by Yannis’ energetic vocals. 2am is lyrically darker, telling of a night out in which you’re desperate to meet someone and not sleep alone that night. This second single focuses on social anxiety within millennials, a popular theme of contemporary music right now, and has earned well-deserved frequent airplay on Radio 1. Furthermore, 2001 is another strong single that holds up. What then follows is a set of songs which, despite lacking variety between each other, are all still epic, culminating in Wild Green, which is somewhat dreamy, touching upon the psychedelic elements of Tame Impala. Ultimately, Foals demonstrate how the departure of two members hasn’t hindered them in any way and are still leaders of the modern indie scene. 7/10

Published by Mason Oldridge, 17 May 2022 It was the art rock sound and Higgs’ vulnerable vocals that initially drew me to EE when I first heard Violet Sun on Radio 1 on my way to pick up my A-Level results in 2020. Raw Data Feel is the electronic-fused follow-up to Re-Animator and it grips from the first technological sounds of Teletype. The album opens with the four singles which demonstrates how AI influenced the new album as they took a new approach in an attempt to distance themselves from being political and doomy. Jennifer focuses on a woman trapped in a miserable life and utilises Higg’s falsetto and vocal range. Leviathan is a nice mid-album reduction in pace before the epic sounds of Shark Week, a song as interesting as the title suggests, whereas Cut UP! opens on an 80s sound before Higg’s this time harsh vocals brutally drag it into the 21st century, complimenting each other in what is the highlight of the album. This album is fantastic from start to finish as lengthy epic Software Greatman concludes the record. Overall, there is not one bad song and EE deserve far more recognition than they get. 8/10

Published by Mason Oldridge, 28 March 2022 Aussie electropop band Confidence Man return with their follow-up full of dance tracks with nods to various sounds including house, disco and funk. The album opens with single Woman, which, along with its house vibes, ultimately belongs on a dancefloor. Feels Like A Different Thing appears to take some 90s dance influence along with drum and bass sounds similar to Chase & Status where What I Like contains disco elements not too far from the acid jazz sound of Jamiroquai. Toy Boy is one of the catchier songs of the record as is lead single Holiday, for which I would argue the verses are better than the chorus. Trumpet Song is a funky track built on a jazz riff aided by a backing beat reminiscent of Faithless whereas Angry Girl is a comedic narration by the eponymous character. Relieve The Pressure is a lengthy outro with some French vocals and even contains elements of breakbeat and jungle akin to early Prodigy. Overall, TILT is a decent effort and I believe the band could receive some serious airplay on radio and in clubs if their fame could transcend past the land of Oz. 7/10