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Published by Mason Oldridge, 11 September 2023 The Leto brothers are back, this time on their own, with their new studio album. Lyrically, the album is quite pessimistic and more in line with the first half of the juxtaposing title, though musically it is more upbeat and draws comparison to Post Malone and Glass Animals. The record opens with lead single Stuck, which is easily the standout. An absolute earworm, the hit song, which went off at Radio 1’s Big Weekend earlier this year, is based on an addictive bassline and post-chorus onomatopoeia that you can’t help but chant along to. Unfortunately, the same can’t be said for the rest of the album. While not necessarily bad in any terms, the songs are rather simplistic and typical of that which fades into the background of radio airplay, not to be remembered. It is refreshing to hear electronic influences on the collection though nothing constitutes a second listen. Thirty Seconds to Mars prove their potential, then fail to live up to it. The talent is there but not exercised. Perhaps Jared is best sticking to acting? 5/10

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, 15 April 2023 Keane members Tim Rice-Oxley and Jesse Quin’s country music side project is back with a third album, leaning much more towards their mellowed self-titled debut than their upbeat follow-up When The Night Calls. Rice-Oxley is nothing short of a musical genius. Despite composing a decade-long discography of perfection as Keane, he is also the mastermind who has recreated guitar sounds by playing keyboard through an amplifier and programmed bass on a laptop when the main band missed a guitarist. Therefore, it is all the more disappointing that his partnership with Quinn has produced a record that lacks wonder and excitement. Unfortunately, most tracks are too dreary to be memorable and are not distinguishable enough from each other. The emotion might be there in the lyrics but the music doesn't match it enough to convey it in a way it perhaps deserves. Some tracks are inevitably better than others. Too Hard A Stone encompasses jazz and features Rice-Oxley’s vulnerable vocals reminiscent of the old Keane demos whereas Wolfhouse is the highlight with a fun melody and haunting piano. Overall, the talent is there but sadly unfulfilled in what feels like wasted potential. 4/10

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

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

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

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

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

Published by Mason Oldridge, 2 December 2022 Our Eurovision saviour concludes his breakout year with the release of his debut album. From the dance-orientated Put a Light on Me and the energetic Tiny Riot to the slow-tempo All the Way Over and the Michael Buble-esque This Time, Ryder showcases his impressive vocals on them all. However, the standout track is lead single Space Man. The TikTok star was chosen to represent the UK this year at the Eurovision Song Contest with the perfect pop song. In his sparkling jumpsuit, aided by epic lighting and staging, he gave the performance of a lifetime to uproarious applause. In a contest dominated by Ukraine, he broke the UK’s curse of last place and being the target of geopolitical hatred to top the jury vote and come 2nd place overall as well as bringing the world’s largest music competition to Liverpool next year. Characterised by catchy music and incredible falsetto on the chorus, Space Man is the best pop song of 2022. Ryder deserves every ounce of his newfound fame and his future is looking bright. Although the rest don’t (as they frankly can’t) compare to Space Man, there is not one bad song on a debut album that is out of this world. 8/10

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

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

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

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

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

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

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

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

Published by Mason Oldridge, 30 July 2022 Legendary record producer Calvin Harris introduces the second volume to his previous effort, yet crashes and burns with his latest funk-infused album. Musically, it appears the Scotsman produced a piece of instrumental and reused it for every track, with the nice exception of strings on New to You. Harris attempts to blend his electronic sound with funk and had cited Jamiroquai as an influence, though where Jay Kay and his band masterfully merge the two to produce otherworldly acid jazz, Harris’ electro evaporates, resulting in a sound more acceptable in the 60s. There is no energy to the latest record and wouldn’t match a club tempo. Harris has recruited a line-up of big names; there are strong vocals from pop superstar Dua Lipa and the talented Charlie Puth, though most of the vocals come from rappers, littering the release with R&B that ultimately poisons the album with a sound unfavourable on the ears. Overall, the album could receive popularity due to Harris’ namesake, though we are left with a handful of tracks that would go unnoticed on the radio. The disappointment is much greater as this comes from the genius who once brought us I Created Disco. 2/10

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

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

Published by Mason Oldridge, 29 June 2022 Alternative rock band Imagine Dragons present the sequel to last year’s Mercury Act 1, 10 years on from when they crash-landed onto the scene with their ground-breaking debut Night Visions. Act 2 opens with lead single Bones, which is easily one of the best singles of 2022 and the highlight of the album. The track is an instant hit as it blends catchy piano with Reynolds’ harsh vocals on the pre-chorus refrain. Second single Sharks is also very catchy and Blur is a likely third due to the build-up and energy it brings. The mood often shifts between tracks; Waves is a deeply personal song focusing on the suicide of Reynolds’ friend and the guilt and responsibility he feels for not having been there. The latter end of the album contains several slower songs; Ferris Wheel is a particularly sweet and romantic tale. Unfortunately, this demonstrates how this second act doesn’t feature any heavier songs like Cutthroat and Dull Knives from the first act. Despite this, the lengthy 18-track album doesn’t contain any bad songs and sees the Dragons continue to put out their fabulously unique music to the world. 9/10

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

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

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

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

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