For me, the best album covers will always be the ones that perfectly encapsulate the music they contain, showing you how the album is going to make you feel or what it’s trying to say before you’ve heard the opening notes. In fact, the best albums, in my opinion, are the ones that have a unifying emotion or sentiment that you feel in every single one of its songs. After trawling through my saved Spotify albums, though, I quickly realised that not all these great albums have the best covers, nor do the best covers belong to the best albums. Continue reading My Favourite Album Covers: From Pre-teen Pop to Peach Pit
Charli XCX announced that she was working on her fourth album via a zoom call with fans on April 6th, giving herself the close deadline of May 15th. At a few points in the month it felt as though meeting this deadline would be a close call, but once again, Charli has lived up to the hype and released an 11-track record reflecting on life in quarantine in California. Before I press play, I think we need to acknowledge that this was written, produced, and released in the space of 39 days. OF COURSE, it would be Charli to set herself this challenge while living through a pandemic. With her third full album release being only 8 months ago, I think this album proves that she deserves all the credit she gets for being one of the most innovative, hardworking people in music at the moment. Continue reading Review: how i’m feeling now by Charli XCX
The New Abnormal sees The Strokes return seven years after their last studio album, with a sound that will take fans back to the band’s glory days in the ‘00s. Continue reading Album Review: The New Abnormal by The Strokes
There’s something about Laura Marling’s bucolic folk sound and sharp British accent that makes listening to her music feel so personal, so homey, and yet provides a world to escape into. She’s even commented herself on her “uncanny” sound, and, as a three-time Mercury Prize nominee in the twelve years she’s been active, you’d think she’d know a thing or two.
I’ve been a fan of Marling’s music since her Short Movie era in 2015, although I didn’t realise that her debut album, Alas, I Cannot Swim, was released in 2008 when she was only eighteen! Continue reading Review: A Song for Our Daughter by Laura Marling
3.15.20 tries to be reminiscent of Glover’s previous albums but feels messier and scattered. Yet, somehow it manages to pull off the sense that this effect is deliberate. If you’re a Childish Gambino fan, you’ll know exactly what I’m talking about. The jolty sense of the album ensures you’re continually entertained, as it never goes where you expect it to. It’s therefore perfect to listen to during the present circumstances. Continue reading Review: 3.15.20 by Childish Gambino
Four years since the release of his 2016 album Starboy, The Weeknd returns with his new album After Hours, and a new look to go with it.
Fans of The Weeknd (real name, Abel Tesfaye) have been patiently waiting for new music from the Canadian R&B singer since Starboy and the surprise 2018 EP, My Dear Melancholy,. Jumping from upbeat, synthpop in Starboy, to a sad, reflective, and painfully honest vibe in My Dear Melancholy, it was difficult to know what to expect next from Abel. Cut to 2019 and following a very public break-up with Bella Hadid and a tweet from The Weeknd saying “album mode full effect”, fans were more than ready for new music. Continue reading Review: After Hours by The Weeknd
Kanye’s latest album, Jesus is King, has interesting ideas about how to blend hip-hop and gospel but is let down by inconsistent execution and poor lyricism, and is a disappointing return after two years of leaks and teasings. A track that is emblematic of this is ‘Water’, where Kanye raps on themes regarding rebirth and the healing power of faith, and its ability to purify. These are especially relevant given Kanye’s attempt to rebrand and move away from topics like sex and drugs. The production is simple but effective and provides a smooth, solid base for Ant Clemons’ excellent feature. Clemons sings well and is the highlight of the song, but he is let down by lazy lyricism from Kanye. Rather than speaking on his evolution as an artist, he decides to repeat variations of Jesus save us, which marks a concerning decline for the once revolutionary, boundary-pushing artist. Continue reading Singles’ Round-Up
The Lumineers’ third album III, is the folk-rock band’s most ambitious project yet. Through music and visuals, it traces the narrative of three generations of the fictional Sparks family and its struggles with drug abuse and alcoholism. III is also a deeply personal work, as the characters in the album are based in part on members of lead vocalist Wesley Schultz’s own family. The album is enhanced by a short film composed of ten music videos depicting the Sparks family’s story. The film is dark and graphically violent; Wesley’s vocals, accompanied by sparse piano and guitar are at turns angry and melancholic. This is an album that is unrelenting in its heartbreak and at times blindly focused on narrative. Continue reading Review: The Lumineers III
Flyte have not disappointed with their eagerly awaited new EP, White Roses. The London-based band have been determined to deliver quality in their new music meaning there has been a two-year gap between the debut album, The Loved Ones, and White Roses, with only the single Moon Unit in-between. It has been worth the wait – the result is a record that feels beautifully crafted and just as soul-touching as their previous releases. Continue reading Review: White Roses by Flyte
Country singer-songwriter Courtney Marie Andrews became something of an overnight success in America after her critically-acclaimed breakthrough album Honest Life was released last year. Prior to that, she’d spent over ten years trying to break into the business as a solo artist, ever since she left her home state of Arizona at the age of 16 to go on the road. She has supported over … Continue reading Review: May Your Kindness Remain by Courtney Marie Andrews