Stuart Stubbs
It's easily her most accessible album yet.
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1mo
With her voice repaired to the mesmersing breaking point of There's Always Glimmer, the closeness of her almost-whisper is startling on "Everybody Around Me Dancing" and "Moon Not Mine", although it's her light-touch production - vaguely New Age and recalling Cassandra Jenkins - that truly elevates this intimate folk record.
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2mo
Picton has a right to be pissed off, and My New Band Believe – an album of incredible acoustic maximalism and conspiratorially whispered melodrama – enjoys the theatrics of its acidity.
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2mo
The softer edges and new accessibility only makes the fury and dread eerily heavier.
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6mo
Lattimore's harp is beautifully clean, and Barwick's vocals less affected than usual.
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6mo
Secret Love, produced by Cate Le Bon, obliterates the thought they would struggle to surprise a second time entirely.
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6mo
Once Upon A Time... In Shropshire is overwhelmingly big-screen stuff; atragedy and a requiem for Fendrix’s childhood home, and for childhood itself, after a series of deaths in his life.
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9mo
"Timber" is almost all Tyler, "Spider Ballad" a lowkey club throbber, all of it only made possible by this unexpected partnership.
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9mo
Once again Marling proves to be an expert navigator of her own career, with a sketch-like record of songs about motherhood that was recorded while her new baby laid by her side
1y
On Romance the message is supercharged via 11 quite brilliant songs that share in common how fully realised they are. A ‘Best Of’ from an imagined band who tried everything once.
1y
You don’t need to know exactly what she’s saying to know that it means everything.
2y
It’s only after the maelstrom (here and on a majority of the other songs – BCNR ending on a chaotic flourish is a characteristic that has endured), as the audience cheers once again, that you’re reminded that this is a live album, beautifully recorded and produced as it is, and, more to the point, perfectly performed.
3y
The New Abnormal is still a way from being The Strokes’ Tranquility Base Hotel and Casino, but at moments its getting there. It’s certainly self-indulgent enough, and admirably pig-headed too.
6y
‘Crushing’ is a strikingly candid exploration into the highs and lows of the end of a relationship and what comes next. On the surface it seems more like lows and lows, but the more you listen the more you get the full spectrum of what the word ‘crushing’ can mean.
7y
For all their eccentricities, The Lemon Twigs are master magpies, so here it’s all obnoxious stage school vocals of the lead singing like a spider and over emoting. It’s bonkers song structures and big crescendos. But it’s all about a chimpanzee.
7y
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