The breakout star has crafted a quietly subversive pop record that, for all its deceptive softness, challenges old perceptions of sexuality and mental health.
On her first album Celeste cements her place as the new face of British soul.
Instrumentally and stylistically, ‘Super Monster’ is true to the all-embracing ethos of bedroom pop, with Claud pulling from a wide arsenal of sounds to flit between genre boundaries.
Following their two hype-building EPs ‘Sweet Princess’ and ‘Boundary Road Snacks and Drinks’, the quartet’s debut album sees them wade further into lyrical surrealism and musical experimentation.
The Leicester band ruminate on modern living and mental health with sincerity and breezy wit.
‘For Those I Love’ is not only an immaculate debut, but a beautiful record that speaks to anyone who’s ever loved and lost, anyone who might be mourning or just processing the days of youthful abandon, or perhaps those who need reminding that you can’t have shadows without the light.
With ‘Smiling With No Teeth’, Genesis Owusu has delivered a riveting album that underscores the power of self-knowledge, perspective and art – one that should be cranked loud.
It’s a rare achievement to make an album as thoughtful and transparent as this; you need real lyrical talent to do so.
The star follows up her career-high 'Norman Fucking Rockwell!' with another stunning album, one the aches with meditations on fame and romance.
After 'Drivers License', pop's brightest new thing proves she's not just a flash-in-the-pan, but a multidimensional artist who's in it for the long haul.
Whether or not they found what they were looking for, ‘Drunk Tank Pink’ confirms Shame’s status as one of the most exciting bands at the forefront of British music.
The Nottingham duo put COVID Britain bang to rights with stunning production, great guests, scabrous lyrics – and a steadfast refusal to offer easy answers.