Published by Mason Oldridge, 17 June 2025 What we’re dealing with here is a total lack of respect for the law. Born out of the 90s rave scene, The Prodigy are an electronic band with its primary lineup consisting of punk frontman Keith Flint, producer Liam Howlett and secondary vocalist Maxim. Their journey encompasses seven studio albums, plenty of controversy, a tragedy and yet hope for the future, so let’s take a look back at what happens when punk meets electronica. The band released their debut album Experience in 1992. Debut single Charly samples the Charley Says public information shorts from the 70s and subsequently influenced the toytown techno subgenre, while Out of Space combines reggae with rave music. The record also contains singles from that period Everybody in the Place, double A-side Fire/Jericho plus Wind It Up, and closes with Death of the Prodigy Dancers, the first song of theirs to include vocals from a main band member. Follow-up Music for the Jilted Generation came in 1994 and is an expansion on their sound as well as progressive for dance music at the time. As primarily heard on track Their Law featuring Pop Will Eat Itself, it is a statement against the criminalisation of the rave scene, though Howlett later rejected its politicised nature. The album consists of rave, techno and breakbeat heard on singles One Love, No Good (Start the Dance), Poison and Voodoo People, with the latter built upon guitar riffs. Third album The Fat of the Land, released in 1997, is their best-selling record and can be considered as the band’s magnum opus. It can be seen as a departure from their rave origins as it embraces a new heavier electronica sound and introduces the first vocal contributions from Flint. It is also notable for its crab artwork. Lead single Firestarter is arguably their signature song and is defined by its opening bars and leading punk vocals by Flint, the latter of which is also utilised on second single Breathe, along with sound effects. Third single and opening track Smack My Bitch Up slaps from its symbol-smashing first drop, though attracted disapproval from The National Organization for Women, citing misogynistic lyrics, although the band later clarified a wider and more vague meaning of “doing anything intensely”. Diesel Power is one of the heaviest on the album and features a rap by Kool Keith, while Narayan is a haunting track with vocals from Crispian Mills and based around the Hindu deity Narayana. In 2002, they released standalone single Baby’s Got a Temper. Following a verse-and-chorus template, the track blends rock and electronic music and features a disturbing music video. It received criticism for its reference to rohypnol, also known as the date rape drug, and was disowned by Howlett. Fourth album Always Outnumbered, Never Outgunned was released in 2004 and features no vocal contributions from Flint or Maxim in a purposeful new approach. Opening track Spitfire is undoubtedly their heaviest track and drops an epic boom with screaming vocals from Juliette Lewis, lead single Girls is a heavy techno offering, while Hotride is based upon Up, Up and Away (In My Beautiful Balloon) and also sees Lewis lending her aggressive rock tone. Outside of the singles, Memphis Bells utilises bell sound effects, The Way It Is samples Michael Jackson’s Thriller and Shoot Down features vocals from Liam Gallagher. Invaders Must Die is the fifth album, released in 2009, and opens with the titular track and lead single, an almost drum-and-bass offering. Omen includes glockenspiel sounds and the instrument can be seen played by an ominous young girl in the music video, Warrior’s Dance opens to sirens and features a weighted drum beat, whereas Take Me to the Hospital incorporates breakbeats whilst remaining in the album’s new style. Elsewhere, World’s on Fire inspired the name of their 2011 live album. After multiple years of production, The Day Is My Enemy was released as the sixth album in 2015 with all three band members having worked closely on the new project. The record opens to the title track, which features a drum corps and introduces the darker and violent energy that fuels the tracklist, while lead single Nasty has a music video starring the fox from the artwork. Other singles include Wild Frontier, Wall of Death and Ibiza, the latter being a collaboration with post-punk band Sleaford Mods and criticises the common practice of pre-programmed DJ sets on the white island. Despite initially rejecting ideas of a new album in favour of the quicker produced EP format, the band released seventh album No Tourists in 2018. Lead single Need Some1 kicks things off, a short and snappy single with glass smashing sound effects. Fight Fire with Fire excels as Ho99o9 bring hip hop energy to the track and We Live Forever features techno sounds reminiscent of their early work, while other singles Light Up the Sky and Timebomb Zone utilise high-pitch vocals. There is arguably less variation between tracks on this effort, making the title track stand out due to its more sinister backing. In 2019, the music world was shook when Keith Flint was found dead in a suspected suicide. A fan-led campaign to get Firestarter to number one in the charts in his memory followed and several tributes from fellow musicians commenting on his kind demeanour poured in. In 2020, Howlett stated The Prodigy would continue. They returned to live performances in 2022 but little was heard regarding new music releases, despite hints and speculation. In 2025, The Prodigy finally confirmed a new album is coming. As their (sort of) hiatus appears to be coming to an end, there is much excitement regarding new music. There will no doubt be a hole felt by Flint’s absence. After all, he was the one who brought the punk to the electronica. Amid the electronic music landscape, The Prodigy remained unique as Flint provided punk style vocals and dancing. Still, with Howlett as producer and Maxim as a vocalist and stage performer, there’s surely some more bangers left to come from these ‘lectronic legends.

Published by Mason Oldridge, 5 June 2025 It’s been 30 years since everyone’s favourite superstar DJs left their dust days behind and turned to chemicals instead. Upon reaching three decades, let’s take a look back at the electronica giants’ (who are not actually brothers) impressive discography. Their first album Exit Planet Dust was released in 1995 and references their former name The Dust Brothers. It features their debut promotional single Song to the Siren, released under the pseudonym. Leave Home showcases the big beat sound that would go on to be pioneered by fellow electronica musician Fatboy Slim, while Life Is Sweet features vocals from Tim Burgess of The Charlatans and carries a darker tone compared to the rest of the tracklist. Follow-up Dig Your Own Hole (1997) performed significantly better, becoming their first number one album and featuring some of their better known hits. Block Rockin’ Beats opens the album while Elektrobank is a composition with a gymnastics-based music video. It Doesn’t Matter marks the first of the Electronic Battle Weapon series, a collection of promotional releases for DJs to test play in clubs. Setting Sun is a siren-laden single with Noel Gallagher on vocals, whereas The Private Psychedelic Reel is a lengthy closing track. Third album Surrender (1999) is opened by Music:Response. Beginning with otherworldly sounds, it turns into a track of digital noises. Lead single Hey Boy Hey Girl is one of their most famous and rightly so as it's an epic dance banger, whereas Let Forever Be is a second collaboration with Gallagher, features reversed sound effects and is built around a repetitive drum beat. Out of Control is another dance song featuring vocals from Bernard Sumner of New Order and instrumental piece The Sunshine Underground inspired the name of the eponymous Leeds band. Come With Us is the fourth album, released in 2002, and opens with the title track. Starting off with angry strings, a spoken word speech begins before launching into rapidly ascending and descending electronic sounds. Lead single It Began in Afrika begins with a deep voice pronouncing the titular phrase and features jungle drums, which creates a jungle / safari feel and there’s an mysterious aura surrounding the track as it remains unclear what ‘it’ refers to. Star Guitar is built around the opening guitar riff from David Bowie’s Starman and has an innovative music video of a view from a train window while the passing objects match the beat. The Test, featuring vocals from Richard Ashcroft of The Verve, closes the album and is almost psychedelic, representative of a hallucinogenic trip as Ashcroft asks “did I pass the acid test?” In 2003, the duo released a compilation album with two new singles: The Golden Path features The Flaming Lips, sees a smooth flow of light guitars and panpipe sounds and is a surprisingly emotional entry thanks to its concluding refrain of “please forgive me, I never meant to hurt you”, while Get Yourself High features rapping from k-os and a martial arts music video. Push the Button is their fifth album, released in 2005, and kicks off with the monumentally recognisable lead single Galvanize, featuring the iconic string sample and hip-hop vocals from Q-Tip, in what is arguably their biggest song. Also on the album is Believe, a highly electronic piece with stressed vocals from Kele, and The Boxer, built around a manipulated piano riff. Sixth album We Are the Night (2007) is led by single Do It Again, full of bouncy electronic sounds and another song that sits higher on their list of most listened. The Salmon Dance features a rap from Fatlip detailing the eponymous movement, interspersed with fun facts about salmon, which is also animated through its trippy music video. Elsewhere, Battle Scars sees dance and country beautifully combine in a song that features folk singer Willy Mason for one of the duo’s most innovative tracks and Saturate can be known as another instalment from the Electronic Battle Weapon series. In 2008, they released a second compilation album which brought with it the single Midnight Madness, a high-pitched electronic song. Further is the seventh album, released in 2010. It contains a collection of songs with each having its own music video, linked by an actress and their underwater and neon themes. There is a cohesive dance sound throughout, though while Escape Velocity, Swoon and Horse Power are heavier, Another World offers a lighter sound. Born in the Echoes was released in 2015 and ushered in the brothers’ modern era. Introduced by Sometimes I Feel So Deserted and its post-apocalyptic music video, this eighth album saw them crash land in the new space with a bang. Different, groovy and damn right outrageous, Go rewrites the rulebook for what The Chemical Brothers can deliver, serving up a synchronised music video and is built upon a slick bassline. Under Neon Lights features vocals from St Vincent, while EML Ritual has a slow build to its drop and gained prominence from featuring in O2’s Follow the Rabbit advertisement. The album closes with Wide Open, a slower and more sombre offering that also proves their versatility. In 2016, they released non-album single C-h-e-m-i-c-a-l, featuring live audience sound effects. The new era continues with ninth album No Geography, released in 2019. Free Yourself is the lead single and has a music video containing dancing robots with humanoid faces. MAH (an acronym for Mad As Hell) opens to maniacal laughter and introduces the character seen at live gigs, Got to Keep On is a lighter offering with bell ringing, We’ve Got to Try offers a message of positivity and hope, matched with a music video teaching a dog motorsport racing and space travel, while Eve of Destruction features vocals from Aurora, who wasn’t even born when their first album came out! I think if everyone had one message for the brothers moving forward it would be to keep on doing what they’re doing. Bring me… dance.

Published by Mason Oldridge, 10 April 2025 It’s time to begin, isn’t it? Imagine Dragons are an alternative rock band characterised by their drum-heavy sound, mainstream appeal and lead vocalist Dan Reynolds’ powerful vocals. Why Imagine Dragons as a band name? It’s a secret anagram known among the band members. Hailing from Las Vegas, they have gone on to become one of the most successful musical acts of modern times, so let’s take a look at their series of albums. After a string of EPs, the dragons released their debut album Night Visions in 2012, opening with signature song Radioactive. Beginning with an acoustic guitar intro, it then winds up to become an electronic rock anthem with slapping drums. It has a very memorable (and upsetting, despite its parodistic nature) music video centring on underground puppet fighting, led by a villainous ringleader who revels in the carnage as various teddy challengers are violently defeated, until a game-changing stuffed bear enters the ring. Along with the injured competitors, the band members can be seen trapped in the dungeon below, including Reynolds hitting a bass drum, something that has become an element of the song’s live performances, as the drum solo makes for an epic extended rendition of the certificated diamond track. Debut single It’s Time focuses on the topic of change and is one of the more emotionally charged tracks on the album, though Demons is arguably the most heart-wrenching due to its premise of personal flaws and fear of a loved one getting attached. Contrasting this is On Top of the World, a folk-esque track that is clearly much more positive and serves as a response to the band’s eventual success. Amsterdam has gone on to become a fan favourite, Hear Me contains the hauntingly innovative lyric “maybe if I fall asleep, I won’t breathe right” and Bleeding Out features broken record sounds. Tiptoe and Underdog are synth-driven tracks and more upbeat offerings in opposition to the overlying theme and mood of the album. Nothing Left To Say is a lengthy and atmospheric finale, followed by Rocks, a short folk tune, tagged on to the end of the track. Follow-up album Smoke + Mirrors was released in 2015 and is arguably the heaviest album musically. The album artwork is by surrealist artist Tim Cantor, whose works are referenced in the music video for Shots. The single opens the record with its recognisable guitar riff as one of the lighter tracks before Gold welcomes a darker tone with its Western sounds and reversed shout effect. The title track is one of the more innovative offerings, with quieter verses before the shouting prelude of “open up my mind” set to pounding drums. It deals with religious doubt, specifically Reynolds’ faith in his Mormonism, as the chorus features an outcry of “I want to believe”. I’m So Sorry touches upon garage rock with a piano-led bridge, lead single I Bet My Life incorporates folk rock and Polaroid includes xylophone sounds. Friction is one of the heaviest productions from the band and therefore one of the most epic. Reynolds’ harsh vocals are best suited to the louder instrumentation as brutal guitars and drums go hell for leather on the chorus. The song may well be in high gear but it is pedal to the metal for an even heavier outro, leading to the track standing out as an underappreciated highlight. It Comes Back to You is a silky smooth contrast to the previous number and works well for it, Trouble uses acoustic guitar to deliver another folk-inspired track, Hopeless Opus chronicles Reynolds’ depression struggles, while The Fall is a lengthy closer with operatic elements. Evolve is the third studio album, released in 2017, and was referred to as an “evolution” by Reynolds. It could be argued this is where they began to be associated more with pop rock, which creates a cohesive sound across the record. Lead single Believer is drum-heavy and one of the most streamed songs of all time while fellow popular single Thunder can be defined by its high-pitch vocal effect. Mouth of the River plays epic heavy verses against a lighter chorus, whereas Dancing in the Dark is a mellow closer with a slower tempo. The digital re-release added final single Next to Me, a stripped back love song exploring the fear of failing in a relationship. The track is honest and raw, with lyrics that honour the loyalty of a partner and a final chorus that features choral backing vocals. A year later in 2018, Origins was released and lead single Natural kicked things off with its pounding drums. Cool Out has a summer feel while Bad Liar incorporates electronic music, including water effects. West Coast features acoustic guitar and coastal lyrics, Zero is a fun track that features in the Disney animated film Ralph Breaks the Internet and Bullet In A Gun is a more innovative offering thanks to a trap-esque drum beat. Coming out of left field, Digital is chaotic and adopts drum and bass instrumentation, whereas Only touches upon EDM. Stuck reduces the tempo as a slowed emotional piece before the album concludes with Love, an anthemic cry for peace across the world, suggesting we are all connected by the titular theme. Reynolds described Origins as the sister album to its predecessor Evolve, though the latter record is much more varied and feels somewhat an improvement upon the former. In 2021, the band released Mercury - Act 1, the first half of their double fifth album. Opening the record is My Life, a ballad containing piano and strings. Lonely is a short and funky offering, Wrecked is a heart-wrenching single based on Reynold’s real-life experience of the death of his sister-in-law, whereas Monday is juxtaposingly upbeat and built around a simple electronic riff. Dull Knives surprisingly incorporates heavy rock, Follow You documents another of Reynolds’ real-life experiences, this time his reunion with his wife, while its sister single Cutthroat is one of their most innovative productions thanks to its funky keys, sound effects and screaming vocals. No Time For Toxic People is a positivity anthem and One Day is a beautiful acoustic closer. The viral hit Enemy, featuring a rap from JID and for the Netflix animated series Arcane, was also tagged on to the first act. Imagine Dragons maintain a unique sound and have reached the mainstream masses. Their overwhelming success is undeniably linked to their ability to produce such enduring music. Long live the Dragons!

Published by Mason Oldridge, 19 December 2024 If you’re here to read about the Austrian archduke whose assassination sparked the First World War, you may be disappointed. However, if you’re here to read about the Scottish rock band that dominated the 00s music scene, you’re in luck! 20 years on from their immensely successful debut album, we take a look back at their musical career on the cusp of their next release in the New Year. Franz Ferdinand are a Scottish alternative rock band with an original lineup consisting of lead vocalist Alex Kapranos, Nick McCarthy on rhythm guitar, Bob Hardy on bass guitar and drummer Paul Thomson. Although Darts of Pleasure was their first single, it was the monumental Take Me Out, released in 2004, that shot the band to fame. Their signature song, the track is instantly identifiable from that first opening guitar and is mainly defined by its catchy melody. Furthermore, the irony of a band named after someone who was ‘taken out’ is not lost here. Their eponymous debut album shortly followed and spawned more successful singles including The Dark of the Matinée, This Fire and Michael, the latter of which contains not-so-subtle homoerotic lyrics. While the album is very much indie-focused with its blaring guitars, there is welcome variation as piano features on the more laid-back Auf Asche. Finally, 40’ closes the album and is a more notable track thanks to its epic opener. The group wasted no time cracking on with their follow-up and You Could Have It So Much Better was released the following year in 2005. The Fallen opens the album with its electric startup and fast-paced vocals before lead single Do You Want To asks its titular question. Walk Away is a cohesive sounding single whereas Evil And A Heathen draws parallels to Arctic Monkeys, who would arrive on the indie scene a year later. Elsewhere, Eleanor Put Your Boots On and Fade Together are acoustic tracks featuring piano. However, closing track Outsiders is the highlight as rhythm guitars bless us with an addictive groove throughout, along with eerie sounds in its lengthy intro. Their third album Tonight was released in 2009. This saw a major shift in their sound, moving away from their indie origins towards a more alternative outfit, adopting a more electronic feel. The album opens on single Ulysses, in which whispering vocals grow into proclamations of “come on, let’s get high!” Turn It On features what can only be likened to sounds of power tools and No You Girls discusses how a girl can make a boy feel before turning it on its head to point out how boys never care. Bite Hard opens on floaty vocals set to gentle piano before building up on the verse to a more energetic chorus. Live Alone is aided by beeping sounds whereas Can’t Stop Feeling is supported by its electronic melody. However, Lucid Dreams is the highlight. The almost eight minute epic is a majorly restructured version of the prior year’s single and a vast improvement on it too. With an awesome chorus alone, it is followed by one minute of instrumental before evolving into a three minute outro of fuzzy techno. Afterwards, Dream Again is like a distorted nursery rhyme and Katherine Kiss Me is an acoustic reworking of No You Girls. Right Thoughts, Right Words, Right Action is the band’s fourth album, released in 2013, and is arguably their most experimental work, earning high praise and merit for the successful effort as well. Lead single Right Action launches the record and lends its lyrics to the album title before Evil Eye opens to a roaring scream and is a short and snappy track. Love Illumination is an upbeat song with an addictive post-chorus melody. Stand On the Horizon is rather atmospheric, beginning with a gloomy feel before bursting into the chorus and then eventually returning to a feel that mimics the drizzly North Sea it sings about. If Stand On the Horizon inhabits a Winter feel, then it serves as a nice prelude to the Spring-sounding Fresh Strawberries, which is a lot more upbeat with its harmonic chorus. Treason! Animals is the highlight, seemingly discussing mental health and needing company and background noise to distract from recoiling inside your own head. Furthermore, it contains what can only be described as boing sounds and the instrumentation quickens in pace towards the end, creating a claustrophobic, threatening environment and an impending sense of doom. The Universe Expanded is another atmospheric piece as reverberated music plays with a haunting beat throughout, as is Brief Encounters as it incorporates otherworldly sounds, whereas Goodbye Lovers and Friends is a nice closer with its dark theme. The band then underwent a lineup change when founding member Nick McCarthy left and was replaced by Julian Corrie on keyboards, synthesizers and lead guitar and Dino Bardot on rhythm guitar. A bigger focus on keys and synth is placed on fifth album Always Ascending, released in 2018, which works in the band’s favour as we see even more of their potential unleashed. The lead single and title track opens on a slow-build piano section as the music seemingly ascends towards the verse. Paper Cage delights with playful keys, The Academy Award is a sonically negative song and Lois Lane utilises synthesizers for its joyous sound. Huck and Jim is heavier and excels with its grinding guitar on the chorus and slick bass on the verse whereas Glimpse of Love bathes in its floaty light dance melody. Feel the Love Go adopts an electronic beat before descending into a funk outburst featuring sax and tambourine sounds, then Slow Don’t Kill Me Slow is a sinister closer with haunting guitar and stretched out crash symbols. Audrey Tait replaced Paul Thomson as drummer in 2021 and greatest hits album Hits to the Head was released in 2022. So what is next for the Scottish rockers? Well you’d have maybe thought they would continue to experiment with new sounds but, judging by the new singles from upcoming sixth album The Human Fear to be released in 2025, the electronic influence seems to be absent, so perhaps they’re returning to their rock origins? Either way, one thing is for sure… Audio Visual will be here in the New Year to check it out!

Published by Mason Oldridge, 3 December 2024 Hello? Is there anybody in there? Just nod if you can hear me. Is there anybody home? These are the opening lyrics to, of course, the legendary 70s progressive rock anthem Comfortably Numb by Pink Floyd, however, only a group as unique as Scissor Sisters could turn the classic into such an epic dance banger. As we hit the 20th anniversary of their overwhelmingly successful debut record, we take a look back at their career spanning four studio albums. Born out of the New York gay scene, Scissor Sisters are a glam rock band with an original lineup comprising of lead singer Jake Shears, female vocalist Ana Matronic and instrumentalists Babydaddy, Del Marquis and Paddy Boom. With their genre-splicing instrumentation, flamboyant personalities and stage presence, falsetto vocals and a sexually explicit band name, the sisters had what it takes to land on the scene with a bang. Their self-titled debut album (2004) opens with lead single Laura. Built upon playful keys and otherworldly guitar, the track discusses proving oneself and financial difficulty. Take Your Mama places acoustic guitar as the central instrument and is about coming out to your family and, on a more literal level, taking your mother on a night out! Mary is a sombre piano track that takes a more serious tone, focusing on Shears’ real life platonic friend, who later died of a brain aneurysm. Filthy/Gorgeous details transgender prostitution and features some outrageously sexualised lyrics. Later on into the tracklist, It Can’t Come Quickly Enough is the overlooked highlight. A hauntingly beautiful track, it capitalises on Shears’ falsetto vocals on the chorus and contains some of the most innovative lyrics too, with the first pre-chorus proclaiming “we knew all the answers and we shouted them like anthems, anxious and suspicious that God knew how much we cheated” as well as the chilling chorus talking of deflating disappointment arising from something long-awaited as “it can’t come quickly enough” but then “it passed you by and left you so defeated”. The album closes on Return to Oz, a commentary on drug abuse within gay culture. Opening on sinister acoustic guitar, it turns the fictional Land of Oz into a horrifying dystopia akin to the film of the same name and also contains some impressive lyrics on its dark subject matter. On face value, the album is greatly entertaining to listen to. However, scratching beneath the surface to take a deeper look allows you to fully appreciate how cleverly drafted (and also crude!) the lyrics are and the difficult and taboo topics it tackles, further cementing the record as one of the most iconic albums of all time. Follow-up album Ta-Dah (2006) also enjoyed some success, primarily from its opening track and lead single I Don’t Feel Like Dancing. Arguably their signature song, it sees the band lean into disco influences and features co-writing duties and guest piano from the legend that is Elton John. She’s My Man contains some gender-challenging lyrics whereas I Can’t Decide embraces murderous tendencies set to contrasting fun and playful music. Tracks like Lights and Ooh welcome elements of funk before later tracks such as The Other Side and Might Tell You Tonight are more toned down with emotive lyrics on love and loss. However, Land Of A Thousand Words stands out as an Elton John-style ballad with a more cohesive feel that highlights the band’s true talent. Night Work (2010) saw a major shift in the band’s sound as they moved towards being a more dance-orientated outfit. Having abandoned a heap of new material from a couple of years prior, the band teamed up with producer Stuart Price to start afresh. The sound may be different but the attitude remains the same, as echoed in the controversial album cover. The opening and titular track begins the album and new phase for the sisters with a burst of energy before Whole New Way contains some sexually suggestive lyrics. Fire With Fire is a worthy lead single that was commercially successful while Any Which Way is a fun second release, though Harder You Get shines as the highlight. Exuding confidence and desire, it is an electronically heavy track laced with more sexual innuendos. Something Like This is super catchy, Skin Tight discusses the desire for intimacy and Sex and Violence discusses the desire for, well, sex and violence. The album closes with lengthy outro track Invisible Light, an epic club banger with a surprising spoken word bridge read by Sir Ian McKellen of all people, believe it or not! Despite the change in sound, the sisters master dance music too as the album contains not one bad song. Fourth album Magic Hour (2012) is their final release and continues the dance-orientated sound. Lead single Only The Horses is co-produced by Calvin Harris, who brings his trademark house music to the track, while Inevitable is co-produced by Pharrell Williams, though this track is more subdued yet with a message of hope. Year of Living Dangerously talks of being adventurously experimental in life and maintains a nice clean production with a gentle violin bridge whereas Let’s Have A Kiki saw Scissor Sisters credited with coining the term kiki as a social gathering. Shady Love, originally planned to be the first single, features Azealia Banks with Shears adopting hip hop vocals along with a backing techno beat, contrasting with San Luis Obispo, which sounds like an ode to the Californian city, with tropical and laid-back vibes across the track. The Secret Life of Letters is somewhat eerie and incorporates string sounds before Somewhere plays the album out nicely. Unfortunately, this marked the end of the Scissor Sisters’ incredible discography. After years of inactivity, the band are planning a reunion tour, albeit without Ms Matronic. Despite being a trio now, there is still a positive in that these songs are truly unique and fully deserve to be celebrated.

Published by Mason Oldridge, 18 April 2024 Back on my holiday to Menorca, Spain in 2019, I remember walking up the waterpark’s slide tower in blazing heat, suffering from terribly painful sunburn on my shoulders. However, it was not that year’s summer anthem or some tropical house track playing through my head at the time but Sunburn, single and opening track from Muse’s 1999 debut album Showbiz. Obviously the title was the primary reason I was drawn to that particular song but it still proves that it has stood the test of time to be enjoyable 20 years after its release. Another five years has passed and we now arrive at the 25th anniversary of Showbiz, so let’s take a deep dive into Muse’s cave. Muse are an alternative rock band comprised of lead singer, primary songwriter, guitarist and keyboardist Matt Bellamy, drummer Dom Howard and bassist Chris Wolstenholme. Formed in Teignmouth, Devon in 1994, they won a Battle of the Bands competition under former name Rocket Baby Dolls. This would prove to be a turning point for the band as this encouraged them to take themselves seriously as a band moving forward. After releasing a couple of EPs, their debut album Showbiz was released in 1999. Debut single Uno introduced us to the band’s angry lyrics and screamo vocals whereas Sunburn presented their trademark tinkering keys and Bellamy’s falsetto. Muscle Museum is the title of another single from the release, a unique metaphor for their failed recognition in the early days, created as muscle and museum are the words before and after muse in some dictionaries, respectively. The title track is deservedly the centrepiece of the album. Starting off slow and sinister, it gradually grows, making use of vocal distortion, into a wonderful unleashing of energy. Afterwards, Unintended is the one of the first slower songs of the band to show they excel at more than just rocking out. The record sees the band catch the back end of the emo grunge scene before entering the turn-of-the-century alternative rock era. Showbiz isn’t their best work, but, featuring some otherworldly sounds and planetary artwork, hints at the space elements and highlights the great potential of what was to come. Origin of Symmetry is arguably their best album, embracing a space rock sound and demonstrating some serious talent. Opening track New Born is a lengthy piano-led ballad and lead single Plug in Baby is one of their most successful releases, making use of guitar scale ascension. Bliss focuses on the desire for “peace and joy in your mind” whereas Hyper Music features blunt lyrics rejecting a love interest. Space Dementia is an epic piece with rolling piano and angsty lyrics while Feeling Good sees Muse deliver a heavy rock take on the classic, including megaphone vocal effects on the second verse. Megalomania brings a nice close to the record, with a slower pace and organ sounds within. Origin of Symmetry is simply a masterpiece. Joining OOS on the God tier is Absolution. There are apocalyptic themes on Apocalypse Please and Time is Running Out and religious themes are present on Sing For Absolution and Thoughts of a Dying Atheist, as well as lyrics in The Small Print and Fury, all further supported by the thought-provoking artwork depicting a man looking up at the ascendants of the rapture. Stockholm Syndrome is one of Muse’s heaviest songs and touches upon the titular phenomenon whereas Hysteria features one of the slickest basslines in music with a chorus shouting “last chance to lose control”. Blackout combines orchestral strings with distortion and Butterflies & Hurricanes features a classical piece as a bridge, showcasing Bellamy’s piano skills. Black Holes & Revelations saw a certain musical progression with electronic influences, heard predominantly on lead single Supermassive Black Hole. Starlight is built around a keyboard riff and Map of the Problematique, seemingly a reference to global conflict, makes the resonating statement “when we bleed, we bleed the same”. Closing the album is Knights of Cydonia, an epic Western track with a two minute intro. BH&R also features interesting artwork as the cover depicts four men sitting round a table on Mars. The Resistance is somewhat lighter in sound with lead single Uprising featuring a catchy keyboard riff reminiscent of the Doctor Who theme. Resistance opens on eerie sounds and chilling piano, focusing on the central theme of oppression. Classical music plays a big part on the record, with United States of Eurasia and I Belong to You incorporating a classical piece each. Furthermore, Exogenesis: Symphony is a three-part twelve minute long rock opera composition that closes the album. The 2nd Law could be viewed as Muse’s most experimental album as they dabble in an array of different genres. Survival was written for the 2012 Summer Olympics and promotes strength and determination, with choral backing akin to Queen, Madness features electronic distortion by Wolstenholme’s drum pads, Panic Station is a fun song with an outrageously crazy music video, Follow Me delves into dubstep and Supremacy is strings-led, drawing heavy comparison to James Bond theme music (should have easily been the theme to Skyfall). Animals is Radiohead-like, a band Muse have fought to get out of the shadows from. Save Me and Liquid State features Wolstenholme on lead vocals, offering a fresh change up in the tracklist before the closing titular duo. Unsustainable also plays around with dubstep while Isolated System sounds like a downtempo dance track. Drones is a concept album on drone warfare and saw the band return to their classic rock origins after previous albums of experimental work. Dead Inside features some atmospheric keys on the chorus before the drill sergeant introduces Psycho, a heavy rock song criticising the dehumanising and aggressive treatment of soldiers and their indoctrination into warfare, also showcased in the artwork. Simulation Theory sees a return to electronic music with themes of science fiction and 80s pop culture, plus neon artwork designed by a Stranger Things artist. The album opens on synth-infused Algorithm, Pressure has a music video referencing Back to the Future, Something Human is stripped back with a chilled tone, Thought Contagion’s music video connotes Michael Jackson’s Thriller, Get Up and Fight is an inspirational song and Dig Down was written about Trump’s presidency with a music video referencing Max Headroom. Muse are a truly incredible band. They prove that, despite being a trio, they still have unequivocal talent and can master any genre. Let’s hope the Muscle Museum stays open for business for years to come!

Published by Mason Oldridge, 15 March 2024 Oh simple thing, where have you gone? As alternative rock band Keane celebrate the 20th anniversary of their debut album Hopes and Fears, we take a look back at their sensational yet often turbulent career. The band consists of lead vocalist Tom Chaplin, keyboardist and lyricist Tim Rice-Oxley, drummer Richard Hughes and bassist Jesse Quin. Originally named Cherry Keane, after a family friend of Chaplin who helped them financially when they were struggling to get off the ground as artists, they changed to the single moniker to avoid sounding like someone desperate to lose their virginity. Rice-Oxley and Hughes were initially joined by Dominic Scott, and Rice-Oxley asked childhood friend Chaplin to join as vocalist, completing the line-up in 1997. Moving to London to make it big, the lads had little success, despite releasing debut single Call Me What You Like in 2000 and follow-up single Wolf At the Door in 2001, which featured a much heavier sound than the band would go on to achieve stardom with, comparable to the grunge sound of Radiohead’s Creep. In 2001, Scott left the band and Rice-Oxley started to pen many songs which would feature on their debut album. This left them without a guitarist, which saw them position the keyboard as their main instrument, with Rice-Oxley programming bass on his computer. They were spotted by a Fierce Panda representative at the end of 2002, released a couple of singles in 2003, and then switched to Island Records, a decision made as they felt they didn’t want to change them, released their debut album Hopes and Fears in 2004, and the rest is history! Keane maintain a particular sound on each album, clearly defining each era. Hopes and Fears is full of emotional songs led by heart-wrenching lyrics and beautiful piano melodies. Their breakthrough came with lead single Somewhere Only We Know, a piano rock anthem that would become their signature song. There is a sense of youthful vulnerability on the record, notably on She Has No Time, a track about unrequited love experienced by Chaplin. They had success with other singles Everybody’s Changing, Bedshaped and This Is the Last Time, and the album would go on to become the best-selling British album in the UK in 2004 and win the band British Album of the Year and British Breakthrough Act at the 2005 BRIT Awards. In 2006, they released follow-up album Under the Iron Sea, a metaphor for the claustrophobic pressure of their newfound fame. The band described the album as a “sinister fairytale-world-gone-wrong”, a claim supported by lyrics about nursery rhymes and closing track The Frog Prince, as well as the cartoon artwork. Guitar sounds were replicated by Rice-Oxley feeding his keyboard through an electric amplifier. The album opens on Atlantic, an atmospheric song focusing on loneliness, whereas the subject matter of war is tackled on Is It Any Wonder? and A Bad Dream, with the latter based on war poem An Irish Airman Foresees His Death. Songs such as Leaving So Soon?, Hamburg Song and B-side He Used To Be a Lovely Boy are said to be written by Tim about Tom, which is interesting considering Tom sings them, and Crystal Ball is about feeling like you are losing your identity, which Rice-Oxley experienced during the band’s excessive touring. Broken Toy features haunting sounds and The Frog Prince is about ego, following a late night chat between Tom and Tim. During the UTIS tour, the band opened with eerie instrumental track The Iron Sea and used visuals throughout live shows, a highlight being when they performed at The O2 Arena, London in 2007, which was released on DVD. Perfect Symmetry, their third album, was released in 2008, with this release seeing more of a focus on synth as well as the introduction of the rhythm guitar. Opening track and lead single Spiralling is a new burst of energy, with Chaplin calling it “a train of thought about human endeavour, built on an outrageous groove”. The title track delves into the new topic of religion whereas Playing Along returns to the theme of war. They released an EP of new music Night Train in 2010 and, where all their other albums have a cohesive sound, this release was more a mismatched collection of songs, though still as good. The record opens with the instrumental House Lights, Back in Time is an epic electronic track, Stop For a Minute is a collaboration with rapper K’naan, Clear Skies offers social commentary on the dark underbelly of America, Your Love features Tim on lead vocals, Looking Back samples the Rocky theme tune and My Shadow is a fan favourite. Strangeland saw a return to their more piano-driven origins after their electronic experimentation, offering links to their hometown and nearby areas in both the lyrics and artwork. Sovereign Light Cafe is named after the cafe of the same name in Bexhill-on-Sea, with the cafe being somewhat of a tourist attraction among their fanbase. On the Road is one of their rare upbeat songs, though Black Rain, another track about war, is hauntingly beautiful with eerie instrumentation and vocals. The album closes on Sea Fog, a slow song which Rice-Oxley named his home recording studio after. The band released a greatest hits compilation in 2013 and went on hiatus shortly after, due to Chaplin’s desire for a solo project. The pressure led to him relapsing with his drug addiction, though after recovering, released his solo debut The Wave in 2016, with many tracks documenting his struggles. In 2017, he released a Christmas album and Rice-Oxley and Quin’s country music side project Mt Desolation released their second album in 2018. It turns out Chaplin wasn’t the only one battling their demons as Rice-Oxley had been struggling with the breakdown of his marriage, which culminated in a drink-driving accident. He wrote a set of deeply personal new songs chronicling this and, when Chaplin heard them over a meeting they had one Christmas and learnt he didn’t have an outlet to perform them, he became the one to bring these songs to life, resulting in a Keane reunion. Cause and Effect was released in 2019. Opening track You’re Not Home talks of the empty family home, lead single The Way I Feel tackles mental health, Put the Radio On refers to the intense intimacy of sex, Strange Room details the cell in which Rice-Oxley was reprimanded for the drink-driving incident, Stupid Things tells of the behaviours that cause divorce and I’m Not Leaving is addressed to Rice-Oxley’s daughters. However, there is light at the end of the tunnel as bonus track New Golden Age offers a glimpse of hope. Unfortunately, the tour was largely affected by the coronavirus pandemic. The band went their separate ways again after with their individual projects, which included Chaplin unexpectedly appearing on The Masked Singer. The boys are back for a celebration of 20 years since Hopes and Fears, yet there appears to be no new music on the horizon. But what do I know? What do I know?

Published by Mason Oldridge, 3 November 2022 While the 90s rock music scene in the UK was dominated by the straightforward guitar and tone-deaf vocals of Britpop, Radiohead was busy pioneering alternative rock, a genre that would break through years later. 30 years after the release of their debut single Creep, we take a look back at the incredibly successful career of alternative rock band Radiohead and how their unique sound creates atmosphere like no-one else. Radiohead came into the public eye with Creep. Their debut single might have projected them into the limelight but differs from their usual sound, aligning more with Nirvana-esque grunge that was heard in the US at the time. Still, the contrast between the calm verses and aggressive chorus, both supported by self-loathing lyrics was an initial sign that the band could set a particular tone. One day when I was depressed as a child, my dad told me in response “don’t listen to Radiohead”. I then spent my childhood avoiding them as a dangerous trigger for negativity, but in fairness, he did have a point. Moving on to their follow-up album The Bends, Street Spirit (Fade Out) has got to be one of the most depressing songs ever, courtesy of the sinister guitar. Fake Plastic Trees is arguably the main single from the album and is pretty pessimistic too as the lyrics match the downtempo acoustic guitar. The tone may be a sad one but continued to show how they build an atmosphere through the use of their lyrics and music and the connection between the two. Their third album OK Computer is widely regarded as the best and most influential album of all time. It could be said that this is where Radiohead came into their own and debuted their totally unique sound. The album creates its own dystopia, possibly foreshadowing the 21st century. Paranoid Android was the first single to be released and is a 6-and-a-half-minute long rhapsody of four sections, with its haunting background sounds giving it an otherworldly feel. From the acoustic guitar in the first section, through to the chilling choral vocals in the third and the guitar outro in the fourth, the composition is nothing short of a masterpiece and creates a scary atmosphere akin to paranoia as Yorke cries out “What’s there?” This masterfully matches the setting which partially inspired the lyrics in which Yorke was at a bar surrounded by cocaine-fuelled strangers with one woman becoming violent and acting “inhuman”. Karma Police, however, is about stress and replicates that feeling with its mix of acoustic guitar, malicious lyrics and distorted outro. No Surprises, on the other hand, features morbid lyrics and creates a sense of death with its dream pop sound mirroring the dreamlike state of crossing over and its childlike glockenspiel representing childhood as life becomes full circle. However, Exit Music (For a Film) creates an atmosphere like no other Radiohead song. Originally created for the ending of the new Romeo & Juliet film released at the time, the lyrics focus on the film’s themes of love and death. The song builds throughout, starting with acoustic guitar, then choral vocals followed by background noise before drumbeat gives way to distortion, culminating in an epic outpour of emotion with Yorke exclaiming “now we are one in everlasting peace” preceding the outro in which both the music and Yorke’s vocals wind down and drown out. With such a complex structure, the band have created an atmosphere of impending and then occurring doom. The song was used in the final scenes of the Black Mirror episode Shut Up and Dance and perfectly so too. After the twist of the protagonist Kenny being a paedophile, the song opens as Kenny realises his secret has been exposed (impending doom) and the culmination of emotional outpour plays as the police arrive (occurring doom). Both the tragedy-drama film and the anthology series see the song heighten the tension in the scenes as Radiohead have helped set such a sinister atmosphere. I have never had chills more than from the ending of Shut Up and Dance, which I massively credit Radiohead with, and struggle to listen to the song to this day due to the effect the atmosphere it created had on me. As Britpop faded as a culture, Radiohead paved the way for the post-Britpop era as a flourish of new rock bands entered the scene. Ironically, it was at this stage that the band had become disillusioned with rock music, having suffered burnout, and moved towards an electronic direction. Their fourth album Kid A incorporated ambient music after Yorke was particularly inspired by artists such as Aphex Twin. The band defied industry practice by not releasing any singles or music videos and toured in a custom-made tent. Opening track Everything In Its Right Place is an ambient track and sees the activity of having produced lyrics by cutting up and randomly forming abstract phrases take form as Yorke sings of waking up sucking a lemon. The ambient sounds, matched with Yorke’s smooth vocals and obscure lyrics creates a mellow atmosphere, almost having a calming and soothing effect. Eighth track Idioteque has a rapid beat as ambient sounds play over it and makes use of sampling and looping, seeing Radiohead branch out to new forms of producing music and subsequently creating new, different atmospheres. Radiohead’s latest album A Moon Shaped Pool was released in 2016 and proved the band are still going strong with their music, demonstrating the capability to create a particular atmosphere. Opening track and lead single Burn the Witch saw a focus on string arrangements by Greenwood. The fast-paced strings create an atmosphere of rushed panic and fear, aided by a fantastic stop-motion music video about human sacrifice. Further evidence of their skill of creating atmospheres is the use of Decks Dark in the closing scene of Ozark’s series premiere. The dark song hints at the darkness to come for the protagonist Marty, and its tone matches the scene beautifully. Radiohead are exceptionally experimental yet with each of their different sounds they’ve produced have managed to combine music, vocals and lyrics together in a way that births a different atmosphere each time, whether a chilling, depressing or cynical one. But if you give such a skilful task to such a talented and unique band, this is what you’ll get.

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, 30 June 2025 Three years after going rogue, the killer robot doll is back and with an upgrade, this time on the side of good, saving the world! When AMELIA, an android used by the US Army and built upon M3GAN’s framework, becomes self-aware and goes on a rampage, Gemma is tasked with rebuilding M3GAN in a bid to stop the new enemy. Firstly, this sequel is completely different to the original. While the first took the form of a horror, 2.0 is more of a sci-fi action film and much more cinematic in comparison to its fun-without-the-flair predecessor. Additionally, this second instalment is much more complex in relation to the original’s brilliant yet simple storyline. Both are fantastic, just in different ways. Later, the twist revealing Christian as AMELIA’s true controller takes the film in a whole new direction as this means AMELIA is not the great villain we were first led to believe. This appears to have significantly reduced the threat, yet Gemma and team continue to battle as if the danger is the same, leading us to question how much Christian and his warning about AI takeover is the enemy as his message is arguably justifiable, while his actions are not. This culminates in an epic final battle between M3GAN and AMELIA, killing them both, though M3GAN is revealed to have backed herself up. However, Gemma and team’s defiance against Christian puts a lot of people in danger and Gemma abandoning her human team to save M3GAN is very unrealistic. Judging on its own merit, M3GAN 2.0 is an excellent movie and the best on the subject of AI. 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, 28 February 2025 When I tried explaining the concept of the popular Channel 4 reality series Gogglebox to my American friend, it’s safe to say she didn’t understand how this show is such a success. After all, people watching people watching TV does sound pretty boring. So how does this simple yet effective formula keep viewers kicking back on their sofas and tuning in every Friday night? Well I think we can definitely attribute the cast to the show’s success this time. Narrated by Craig Cash in his unique register, taking over from his late Royal Family co-star Caroline Aherne following her passing, different families across the UK offer their opinionated, emotional and humorous takes on the past week’s TV choices as they invite us into their living rooms. Many previous cast members have gone on to further their reality careers, there’s been a couple serve as politicians and it even launched the career of television personality Scarlett Moffatt! As the show returns for its 25th series, let’s take a look at some of the best cast members, past and present! The Siddiqui family Sid Siddiqui and his sons Baasit and Umar (plus occasionally third son Raza) reside in Derby and are the only original cast members to still appear. They aren’t above finding humour in Asian representation on TV and their quick-witted remarks make them one of the funniest families on the show. Jenny and Lee Best friends Jenny and Lee watch TV from Lee’s static caravan in Hull. Lee is known for pranking Jenny and giving her the puzzled raised-eyebrow side-eye combo when she comes out with something bizarre or becomes irrationally tearful, yet their long-tenured friendship is clear to see. A highlight has to be the incident when Lee accidentally ate Jenny’s face mask, believing it to be some sort of dip. The Malone family In Manchester, truck driver Tom and his wife Julie are joined by their adult son Shaun and their array of rottweilers. The father of the family isn’t shy to a sweary rant and often expresses dismay at his happy-go-lucky son’s comments. They were previously joined by eldest son Tom Jr., who left to pursue an online career. Giles and Mary Marmite couple Giles and Mary live in their thatched roof cottage in Wiltshire and do their viewing from their very floral living room. Etiquette expert Mary is often frustrated at her husband’s various eccentricities, though Giles seems to enjoy being his wife’s personal wind-up merchant. Ellie and Izzi In Leeds, sisters Ellie and Izzi love to talk about food and recall stories of their Auntie Margaret, as well as discussing what they’re watching on the box too, and no topic is too personal for the sisters to share with a national audience. Dave and Shirley Married couple Dave and Shirley discuss the week’s offerings from their home in Caerphilly, where the Welshman is left in hysterics at some of his wife’s hilarious misunderstandings and no-nonsense comments. Alison, George and Helena Alison, her rarely-speaking husband George and her daughter Helena share their thoughts from Alison and George’s colourful living room in Manchester. Alison is a keen knitter, while Helena is prone to a quirky dress sense herself. The trio are sometimes joined by Helena’s young son Erwin. Pete and Sophie Pete and his little-yet-taller-than-him sister Sophie are in Blackpool and are related to the legendary comedy duo the Chuckle Brothers. Along with Sophie’s recognisable laugh and their excessively sized teapots, the siblings have become known for their political scathings and silly humour. Abbie and Georgia Best friends Abbie and Georgia broadcast from the North East and are often joined by Georgia’s baby and her pet staffie Vinnie. The girls are regularly confused at both the content they watch and the discussions they have outside of their viewing. Simon and Jane In North London, siblings Simon and Jane watch TV together. Simon doesn’t shy away from joking about his dwarfism and has occasionally been subjected to uncomfortableness during the racier scenes whilst sharing the room with his sister. Roisin and Joe Flying the flag for Scotland is Roisin and her boyfriend Joe in Glasgow. Roisin can usually be seen with her feet up across her boyfriend’s lap while Joe makes some witty remarks. Stephen and Daniel Hairdressing husbands Stephen and Daniel dissected the week’s TV from their home in Brighton. Stephen would take centre stage with his impressions of the various faces that crossed the small screen, before the couple left the show in 2023. Stephen was a cast member since the show’s inception, having previously been joined by his late mother and, before that, his former partner Chris. Mary and Marina Good friends Mary and Marina shared residency at the St Monica Trust Retirement Village in Bristol. Mary loved to sing and was often met with praise from Marina as this sweet natured friendship warmed hearts across the nation. Kicking around the age of 90, this didn’t stop the elderly pair from making crude comments from time to time and having a keen eye for some of the men on their screen. A highlight of these two was when they were thoroughly entertained by Christmas film Home Alone as the classic movie transcended their age to make them laugh still. Mary passed away in 2021 at the age of 92. Leon and June Husband and wife duo Leon and June presented their opinions from their side-by-side armchairs in their Liverpool home. Leon may have been sharp-tongued at times but the love of the retired teachers ultimately shone through. They passed away in 2017 and 2020 respectively. Steph and Dom Known as ‘the posh couple from Gogglebox’, married couple Steph and Dom were rarely seen without a drink in hand, with their alcohol cabinet on display behind them. Residing in Kent, the B&B owners were fan favourites on the show until their departure in 2016. With an extensive cast that nicely reflects families up and down the country, Gogglebox has earned its longevity on the Channel 4 Friday night lineup and in British culture as a whole. After all, people watching people watching TV has never been more entertaining!

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, 25 January 2025 We are well into January now and both BBC One and ITV1’s Saturday night lineups are in full swing. It is one of the most competitive programming slots as the rival networks go head-to-head to win over the millions avoiding the icy conditions outside in turn for a cosy night in by the fire. However, this is indeed a year-round fight and so let’s take a look at some of each channels’ best Saturday night shows to determine who has the stronger content. Note that we are excluding the big talent shows of Strictly Come Dancing, Britain’s Got Talent and The Voice as they all win on their own merit. The Masked Singer Who’s that behind the mask?! Comedian Joel Dommett (interesting choice but it appears to have worked) presents this madcap singing competition in which celebrities perform against each other in giant costumes to disguise their identity in front of the judging panel of Mo Gilligan, Davina McCall, Maya Jama and Jonathan Ross and an excitable studio audience. Each week a celebrity leaves the contest and is unmasked, slowly as everyone chants “take it off!” The concept may sound cheesy and there is a notable history of talented professional vocalists leaving in the earlier stages, but it is strangely addictive to find out who has remained anonymous for so long in a show with tight security to keep such information disclosed. Gladiators Contender ready?! Gladiator ready?! Plucky contestants take on a whole new batch of the infamous superhumans in a series of gruelling physical challenges at Sheffield Arena in this reboot of the 90s classic. The brave competitors are not just up against the gladiators hunting them down but a fellow contestant too as each show sees two males battle it out and two females go head-to-head in the final race (featuring the dreaded Travelator) in a bid to move on to the next round. This third incarnation of the show is hosted by established presenter Bradley Walsh and his rising star son Barney. The father-and-son duo garnered success together on their travelogue series Breaking Dad, though it seems that format suited them better than as a presenting duo as their cringeworthy delivery makes for awkward viewing, but ultimately doesn’t hinder this timeless concept. Michael McIntyre’s Big Show One of Britain’s most successful and funniest comedians Michael McIntyre takes time out of his touring schedule to present this variety show featuring a mix of comedy, music, games and pranks. As Michael promises, there’s “big stars, big laughs and even bigger surprises!” Spanning from a one-off Christmas special, regular features include Unexpected Star which allows a member of the public who dreams of performing set up by their family and friends to have their moment in the spotlight as they close out the show, its celebrity variant Unexpected Star Star which sees a famous singer tricked into performing one of their hits, Send to All in which a celebrity guest hands over their phone to Michael who sends an embarrassing text to all of their contacts, the Midnight Gameshow where Michael and a camera crew sneak into a celebrity’s bedroom in the middle of the night to play a round of ridiculous games with the unexpecting and slightly dazed guest and Remember Me which sees a celebrity guest try to recall how they once knew the person stood in front of them on stage. Highlights from these include Ricky Wilson’s soft play prank as the Unexpected Star Star and Bradley Walsh meeting Fanny Chmelar from the viral question on The Chase during his Midnight Gameshow. Hosted from the Theatre Royal, Drury Lane, even the audience members aren’t safe from featuring in Michael’s cheeky antics. We are also treated to musical performances at times and, if really lucky, a brand new comedy routine from Michael! Ant & Dec’s Saturday Night Takeaway Having been at the helm of Saturday nights for over 20 years, TV presenting royalty Ant & Dec retired their light entertainment variety show Saturday Night Takeaway last year, citing the excessive preparation required during production. Introduced by a different Star Guest Announcer each week and often beginning with audience surprises, features include holiday giveaway section the Happiest Minute of the Week, Little Ant & Dec in which a child version of the duo interview celebrities, Ant vs Dec which sees the cheeky chaps go head-to-head, Undercover and Get Out of Me Ear which sees a celebrity either pranked or told what to say and do via an earpiece, Win the Ads in which an audience member takes part in a quiz of questions about the past week in a chance to win the contents of advertisements and finally the End of the Show Show as a performer takes to the stage, along with Ant & Dec’s involvement. The format is definitely a winning one but excels more than anything due to the lovable Geordie duo. One of the segments spawned a spin-off series In For a Penny in which Stephen Mulhern travels the country playing ridiculous games on the streets as unsuspecting members of the public aim to win a grand. The 1% Club This incredibly unique game show hosted by funnyman Lee Mack sees 100 contestants answer increasingly difficult questions ranging from what 90% of the public got right all the way down to the 1% question, gradually whittling down the players. However, the questions are not general knowledge but based on logic, acting as a test of how your brain really works. The format is genius and it is impossible to not play along. Along with Mack’s funny interactions with the contestants, often based around what they would spend the money on, The 1% Club is a winning formula and proving popular with viewers at home too. In conclusion, both channels have strengths in their respective lineups, but ultimately it is down to the individual and their personal preferences as to which number is starting to rub off the remote control.

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, 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, 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, 17 July 2024 Who lives in a pineapple under the sea? The question is as easy to answer as 2+2 as over the past quarter of a century, the lovable sea sponge has grown to become one of the biggest media franchises in the world. As the show celebrates its 25th anniversary, we take a look at what makes SpongeBob the ultimate cartoon. SpongeBob SquarePants follows the titular protagonist and his aquatic friends in the underwater city of Bikini Bottom. The show debuted in 1999 and was created by real life marine biologist Stephen Hillenburg. But what is the key to its success? I believe there are three factors attributed to its popularity, the first being the dynamic of the characters. SpongeBob SquarePants is a happy-go-lucky sea sponge with an enthusiastic and positive personality. He loves his pet snail Gary, his job working as a fry cook at local greasy spoon The Krusty Krab and spending time with his friends engaging in his favourite hobbies such as jellyfishing, bubble-blowing and karate. His best friend is dim-witted and lazy starfish Patrick Star. A loyal friend to SpongeBob (most of the time), he is also greedy and prone to angry outbursts. The two friends are very close and enjoy playing together in a childlike way, much to the annoyance of their grumpy and miserable neighbour Squidward Tentacles. It is the core dynamic between these three that creates the best comedy setups, particularly as Squidward lives in between them in the middle house and is also outnumbered 2-1 even though he is usually the voice of reason. Also, he works at the same restaurant as SpongeBob as a cashier and unemployed Patrick is a frequent diner there, forcing him to be in their company at work as well as at home. Squidward shuns their childish activities and prefers more high-brow interests; he fancies himself as a skilled clarinet player, dancer and artist, despite his many attempts in these arts going unappreciated by everyone around him. SpongeBob and Squidward’s boss is Mr Krabs, a cheapskate crustacean who loves money, which overpowers his moral compass, even at the expense of his teenage daughter Pearl, who is a whale. Despite overworking and underpaying him, Krabs has a soft spot for SpongeBob, again not pleasing Squidward. Mr Krabs comes from a Navy and pirate background. His business rival and former friend is Plankton, who runs the unsuccessful Chum Bucket across the street and consistently fails in his attempts to steal the Krabby Patty secret formula. Plankton is married to his computer wife Karen and finds his tiny size a difficulty in life. SpongeBob’s other friend is land squirrel Sandy Cheeks, who lives in an oxygenated treedome and enjoys high-octane sports and science. She wears an air helmet when leaving her treedome, as do her guests with a water helmet when visiting her. SpongeBob is also a learner driver, having failed his driving test multiple times, and is therefore a student at Mrs Puff’s Boating School. Mrs Puff is a puffer fish who also finds SpongeBob irritating and annoying, though partly as he is unteachable and frequently crashes, causing her to puff up and regularly require medical attention as a result of this. SpongeBob and Patrick enjoy visiting the local beach Goo Lagoon, where they are friends with gym buff lifeguard Larry the Lobster. They are also superhero fans, admiring local ageing superheroes Mermaid Man & Barnacle Boy. Another reason for the show’s triumph is the setting. Bikini Bottom is one of the best fictional animated locations ever. SpongeBob lives in a pineapple, Squidward lives in a moai and Patrick lives under a rock. The three houses are isolated on their own separate from the main town which allows episodes focused on the trio at home to be primarily unaffected by other characters or happenings. The interior of the houses are always fun to go in and it is particularly exciting to visit rarely seen areas such as SpongeBob’s library or garden rooftop. The Krusty Krab is ironically fashioned after a crab trap and features the dining area, the kitchen area, the toilets and Mr Krabs’ office. Sandy’s treedome often appears, sometimes getting to see inside the tree, while Mr Krabs lives in an anchor. Mrs Puff’s Boating School is another common building as we get to see both the classroom and the halls. Outside of the town is other nice places to visit such as Jellyfish Fields, an enchanting nature area where SpongeBob and Patrick go jellyfishing, Goo Lagoon, a beach where the residents often go and Glove World, the theme park where SpongeBob and Patrick have had many a day out. The final key to the show’s success is the traditional animation style used in the early days. Season 1 is the only season to use cel animation, meaning the show is produced with hand-drawn images rather than computer-generated imagery, creating a more authentic feel to the show. Furthermore, this draws comparison to 90s cartoons on Nickelodeon such as Rugrats, CatDog, Ren & Stimpy and Rocko’s Modern World, the latter of which Hillenburg worked on prior to SpongeBob. The production of the show has developed over the years, moving away from cel animation and switching to high-definition widescreen from Season 9, but a specifically nice touch that has remained throughout is the way that bubbles are incorporated in relation to underwater movement. SpongeBob has definitely declined in quality in recent years and it can be argued that the show has sold out ever since Hillenburg’s devastating death in 2018 as the series is now in its fourteen season and the franchise has branched out into spin-off shows such as Kamp Koral and The Patrick Star Show, allegedly against the creator’s wishes. With several more films in the pipeline and no sign of the main series ending, the production team should have protected such an amazing series. However, looking at the earlier seasons and the first film, SpongeBob SquarePants is the greatest animated series of all time and therefore the ultimate cartoon.

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, 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, 19 March 2024 Lindsay Lohan’s new romcom on Netflix may be a fantasy but it is far from magical. The plot sees book editor Maddie, who is in love with her author colleague Paul despite her best friend marrying him, wish upon an ancient stone while in Ireland for the wedding to be the one marrying him. She wakes up to find the wish has come true, but then begins falling in love with the photographer James. Upon reading this basic plot, viewers should have known exactly what they were in for as the story is entirely predictable. However, credit is due for its few merits. The Irish theme is coherent throughout as Paul is Irish, the wedding takes place in Ireland, the fairy is St Brigid, patroness saint of Ireland, and was released in time for St Patrick’s Day. Furthermore, there is an added layer of meaning via the theme of fate and destiny. The wish gives Maddie the life she thought she wanted with Paul, though through her interactions with James, learns that perhaps she was destined to be with James instead, like Paul and her best friend. While the film isn’t necessarily bad, it feels more like a Hallmark daytime movie in contrast to the high quality we’ve come to expect from the streaming giant. 5/10

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