Robert Leedham
The pivot works, it’s just in need of some fine-tuning. In the meantime, you’re now very much aware that the ‘old Rihanna’ is no more. Shame, I miss her already.
10y
For every one of the album's fumbled subtleties, there are several moments when The Districts feint at being great. Enough to show they’re flailing in the right direction.
11y
Swift’s self-empowerment is so irrepressible that you can actually hear her kiss off the haters with the help of a brass backing section.
11y
As much as there is to admire in its forthright gender politics and bleeding edge approach to R&B, it’s a remarkably selfish listen. By favouring lavish presentation over tender blemishes, Mrs Carter is rarely portrayed as anything less than a remarkable human being. One who intends to arrest her commercial decline with pop’s most avant-garde album in years.
12y
In spite of Rihanna’s best efforts, Unapologetic is more depressing than offensive.
13y
As a comprehensive document of a specific moment in time, Trilogy is untouchable.
13y
For all its manufactured essence, Red remains firmly grounded at the crossroads between innocence and experience.
13y
After making it big off the back of a Murder Trilogy, The Killers seem at a loss as to where they’re heading next.
13y
Distinctive enough to be a new entity, smart enough to fall back on a few familiar charms.
13y
With four albums in the can, The Gaslight Anthem hardly seem the types to change their tune.
13y
Far from the bold reinvention initially promised, its restless energy masks over most missteps.
13y
Not unlike Born This Way, MDNA is a bit all over the place with moments of brilliance often stood right next to a hugely underwhelming counterpart.
14y
It’s time for the Dum Dum Girls to join our sordid reality rather than swoon at it from afar.
14y
'Skying’ confirms what ‘Primary Colours’ strongly hinted at; that a stonking band has emerged from the ashes of the garage rock monstrosity that created 2007’s ‘Strange House’.
6y
And weep you shall because this second effort is every bit as overwhelming as its predecessor. In a remarkable twist of fate, Justin Vernon has proved he has the chops to make the world fall for him twice. Turns out he’s a bit of a lothario after all.
6y
Undoubtedly the equal of 2007’s Blackout, this may well be the best record Britney has ever unleashed upon her still transfixed public.
14y
It’s all tension and release, with barely a second wasted to gasp for air amidst the squall of a band on invigorating form.
14y
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