Going into 'Get Fucked', I was apprehensive for two reasons: firstly, it was the bands first full length project without Pricey (who is a big part of why I love The Chats' 2016-2020 output), and secondly I had found the singles for the album boring and derivative. However, I was pleasantly surprised with the record. It reaffirmed to me that the group hadn't lost the originality and spark which made their previous work so great, with tracks like 'The Price Of Smokes' and 'Emporer Of The Beach' ... read more

Cave World feels like VB perfecting their unique and slightly absurd style that has earned them so much attention in recent years. The consistent lyrical themes of the evolution of man help this to feel like a more complete listen, but this concept also leaves room for other standout tracks. All in all, Cave World is probably (just about) my favourite VB record

WMC's self titled debut set the bar high for their second project, but I think they lived up to this challenge. Fear Fear is certainly a more subdued record than their first, but the way Minsky and co incorporate elements of krautrock and techno makes this a refreshing and intriguing experience

This is BM's most cinematic and theatrical release to date, and they pull it off really well. Stellar musicianship and a narrative surrounding different actions that get individuals sent to hell make this record as technically impressive as it is lyrically captivating. The singles are also noticably more enjoyable in the context of the album as a whole.

Cool album imo. The instrumentals on non-singles can feel a bit bare on occasion, but this is made up for by Sinead’s fanciful lyrics and unique delivery. Won’t be everyones thing, but I think it’s great

Wow! This is a really cool listen. It carries the perfect combination of new grandiose instrumentation, classic Shack guitars, and gorgeous Strands-style subtlety. As a whole, this project is showcases a resemblence to some of the best bits of Mick Head's 40 year output

Great listen. Mixes styles and instrumentals really effectively, and the vocals are addictive. Really strong selection of tracks, even if some are definitely a level above others

Abrasive record that doesn't shy away from... anything. Brilliantly political and relevant, but also some great samples and instrumentals. Proper

Strong record. The polished production, ethereal vocals and pronounced basslines combine to create a beautiful sounding album that makes for a relaxing but gratifying listen. Closing track is superb also

Though this album doesn't do anything new, it pretty much perfects the concept of a fun indie rock album. It manages to be an easy listen whilst avoiding being boring, and quirky vocal delivery throughout keeps things interesting. Very uplifting and enjoyable project

Really impressive record, that while being experimently is not inaccessable. Excellent selection of singles, though would personally have spread them out more across the tracklist as the back end of the record could definitely be challenging for some.

A great post-rock record from an exciting band. Definitely takes inspiration from the likes of Mogwai and Slint, but it manages to pull this off in a way that doesn't feel too painfully derivitive. Only real critque would be that it drags on a little too long and gets a bit samey towards the end - 'Was Living' and 'The Low Anthem' don't add much to the experience. Really looking forward to seeing where the band goes next!

The yank-centric nature of this platform accounts for much of why this album has a fairly average rating overall. Don't let this fool you: The Overload is an exciting post-punk record, full of lyrical wit and dynamic instrumentation. However, it is distinctly British, and may be an acquired taste.

Significant improvement on the sophomore project, showcasing both a return to the impactful tracks of Dogrel, as well as an evolution of the band's sound. Great record

As close to perfection as an album is likely to get. Masterpiece