Search

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, 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

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

Published by Mason Oldridge, 16 January 2024 Harlan Coben’s latest Netflix adaptation has arrived, back in the UK with returning regular Richard Armitage and newcomer Michelle Keegan. The plot sees widowed ex-Army officer Maya Stone investigate the murder of her husband Joe (of the wealthy Burkett family) after she witnesses him on the nanny cam and the possible connection to the murder of her sister before. As the series progresses, we learn that the Burkett pharmaceuticals business is corrupt. In the final episode, it is revealed that Maya killed Joe after she found out he murdered her sister when she started investigating the corruption of the business. She then proceeds to expose the family at the expense of her life. This twisty thriller maintains the quality of Coben’s previous series, though more questions arise before any answers. However, the answers don’t disappoint. The reveal that Kierce’s illness has been caused by the Burkett’s medication and that his sponsor is actually a hallucination of his dead former partner is almost as shocking as the main twist. Keegan portrays the headstrong Maya well, while Joanna Lumley masters the manipulative Judith. The hilarious pairing of Detective Kierce with younger detective Marty provides the light-hearted comic relief as well as some sweet moments as Marty cares about Kierce’s condition and Kierce begins to accept his kind-hearted nature. So far, Netflix’s deal with Harlan Coben is proving to offer up strong content for the streaming giant. Here’s to his future adaptations! 8/10

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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