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, 21 June 2023 After a four-year break due to real life becoming too much like an episode thanks to the coronavirus pandemic, Charlie Brooker brings us five new instalments of the chilling anthology series. The new season kicks off with Joan Is Awful, which feels like a typical episode. The titular character finds her life has been adapted into a series on a streaming service in almost real-time and is an intense warning over the way AI such as ChatGPT (which was actually released after production) is going and what it could grow to become, as well as a stark message to read the terms and conditions. Loch Henry incorporates horror with a twist that doesn’t disappoint. The episode, set in Scotland, is tense throughout as viewers can nervously await the response to the revelation. Beyond the Sea is set in space and, while the premise and featured tech offers an interesting concept, the slow pace across the lengthy runtime ultimately isn’t justified. Mazey Day challenges the morality of paparazzi as a group descend on a reclusive and troubled celebrity in the Czech Republic. The supernatural twist is an unforeseen one and makes for a dramatic yet tragic ending. However, the standout episode is Demon 79. Released under the Red Mirror label due to its non-technological focus, this instalment still inhabits the characteristics of a typical episode: an unnatural situation featuring unnerving characters with a continuously unpredictable conclusion. The chosen form of the demon is hilarious and makes the bizarre scenario all the more gripping. The apocalyptic ending is cinematic though it is the chemistry between the two characters that earns the praise the most. With more atmospheric scenes, shocking twists and disturbing acts, Brooker has successfully added some strong episodes to an already impressive collection. 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, 30 December 2022 The greatest film of the 80s is… anyone? Anyone? Ferris Bueller’s Day Off, and here’s why. Before Christmas hit Home Alone landed on our screens, writer John Hughes produced a string of classics throughout the 80s, though the one that would stand out from the rest is cult classic Ferris Bueller’s Day Off. First of all, the plot is simplistic genius. A teen feigns illness to bunk off school and has an action-packed day of thrills round the city of Chicago with his best friend and girlfriend in tow, all the while escaping the clutches of both his sister and the dean of students, who see through the rouse and are hellbent on catching him out. On his day off, the three dine at a French restaurant, visit an art gallery, attend a baseball game and join the crowd of a parade, in which Bueller jumps up on a float and performs. Throughout the day, the trio have several close encounters with Bueller’s father though are never caught by him, representative of how Ferris’ mischievousness always results in success, particularly his con of impersonating Abe Froman, the sausage king of Chicago, when he gets the upper hand over the maître d’. Casting played a significant part in the film’s success. Matthew Broderick is the perfect choice for the lead role as he delivers on portraying the charm and wit that Ferris possesses. It is these characteristics paired with an infectious likeability that make Ferris the coolest kid imaginable. Furthermore, Ben Stein’s monotonous performance as the economics teacher provides one of the funniest moments in the film. The roll-call scene and his lecture have led the dry call of “Bueller?” and “anyone?” to become etched in pop culture as a phrase to be used in moments of unresponsiveness. The shots of several bored students only aid the scene in being even more hilarious and closely relatable too. While the kids play truant, dean of students Ed Rooney sets about to catch Ferris out, only to suffer failure and misfortune. From the first moment of Cameron impersonating Sloane's father, it is clear Rooney’s determined mission is doomed to fail with comical results. As Sloane kisses Ferris under the disguise of her father, Rooney’s confused reaction is priceless. Later on, Rooney’s series of events at Ferris’ house is comedy gold as he loses his shoes in mud, is chased and attacked by the pet rottweiler, punched by Jeanie believing him to be a burglar and has his car towed. The film continues its comedy throughout the end credits too as the movie concludes with a worse for wear looking Rooney having to catch a ride on the school bus, sitting next to an off-putting student while reading graffiti regarding himself. The Chicago setting for the film is visually stunning and makes the movie aesthetically pleasing with several incredible shots of the city. Hughes often filmed and set his films in Chicago where he lived from teenhood. Hughes said “Chicago is what I am”, calling the film his “love letter to the city”. Of the production, Hughes claimed “I really wanted to capture as much of Chicago as I could, not just the architecture and the landscape, but the spirit” and the spirit of the windy city is definitely felt across the movie. Landmarks such as the Sears Tower, Wrigley Field and the Art Institute of Chicago all feature as places visited by the teens and the cityscape shots as Ferris whizzes around in the ferrari are breathtaking. Additionally, Cameron’s futuristic house is as intriguing as it is stunning while Ferris’ house itself is rather impressive (although the exterior was shot in California). Arguably the funniest aspect of the film is the continuous gag about the extensive concern over Ferris’ health. This begins with students at the school discussing Ferris’ illness and conversing about what a hero he is, though soon diversifies across the city, almost following him around. As we follow his antics throughout the day, a sign reading Save Ferris is displayed on the baseball stadium and a newspaper article about the community rallying around the sick boy is printed in the newspaper his father reads in the taxi. The pinnacle of this running joke is the shots of excessive amounts of flowers and balloons at Ferris’ house. A flower delivery signed by the English department at the school arrives at the home, much to the frustration of Rooney, and a stripper dressed as a nurse turns up on the doorstep at the time Jeanie was hoping the police had arrived to rescue her from the assumed intruder. It is safe to say the ferrari owned by Cameron’s father also plays a big part in the film. It is the centrepiece of Cameron’s frustration over his father’s control and a root cause of his anxiety throughout the adventure. Ferris, a non-driver, taking the car for a ride that day is a defining moment that outlines his personality characterised by confidence and fearlessness. The expensive status of the vintage automobile is what causes such a reaction when Cameron damages the car before it crashes onto the ground below and what makes the valets taking the car for a joyride after promising to take such good care of it so side-splittingly funny. Finally, the film has a perfect ending in which Ferris runs across the neighbourhood in an attempt to arrive home on time before his parents do and catch him out, taking a shortcut through the backyards and almost getting run over by Jeanie with his oblivious mother in the passenger seat, over the iconic March of the Swivelheads. Rooney meets Ferris on his doorstep, revelling in finally catching him, before Jeanie decides to let him in in time to get in bed for his parents’ return. Ferris Bueller’s Day Off is full of iconic moments and earns its status as a cult classic. It teaches us to embrace opportunity and chronicles the excitement life can offer. After all, life moves pretty fast. If you don't stop and look around once in a while, you could miss it.

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

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

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

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

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

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

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

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

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

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

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

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

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

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