A love letter to the greatest city in the world.

Genesis' music has always been political but I suppose more in the metaphorical sense, so the decision turn his third album into such an unapologetic politically charged statement was kind of a open trapdoor. And yet, through a gloriously addictive and cohesive mix of dance-punk, post-punk and hip-hop it may just be his strongest so far. Highlights include the rambunctious Death Cult Zombie, whose lines about the manosphere are as hilarious as they are spiteful. The Worldwide Scourge to ... read more

It’s been a rather tumultuous build-up for this new JPEGMAFIA album. A sort of self-induced rocky road with each provocation, tweet and absurd statement being a larger speedbump than the last. Peggy, who carries himself around with the inflated ego of someone who knows and adores that his albums have a 4.00+ on rateyourmusic (and unfortunately, while I wish i was just being self-important on behalf of the website, it is almost certainly true) has taken on a kind of superiority complex, ... read more

I've been a massive fan of Makthaverskan for nearly six years but this one isn't really doing it for me to be honest. I think it's the main symptom of not really changing your sound over a fifteen year career span. Don't get me wrong it's still nice and Milner's vocals are as amazing as ever but I think the allure has just waned on me. Definitely not as strong melodically as its predecessors.

The mountain of blended genres, global influences and features that Gorillaz set for themselves prove, on this occasion, to be insurmountable

I'd dabbled in a few of Courtney Marie's tracks before and while I was attracted to her country sound it was really substantial enough for me to go back and listen to a full record of hers. On Valentine she changes direction somewhat to a folksier and richer sound. Plenty of layered vocals to chew on, and the songwriting is simple but mostly sweet. Enjoyed the strings and reverb on Hangman and the disparaging lyrics on Cons and Clowns.

I've been a fan of Let's Eat Grandma for a long time and this is a welcome solo outing. Jenny's at her best here when invoking the 2000s britpop sound on tracks like the simple but brilliant Good Intentions. There's a Suede-like anthemic quality to quite a few of the songs here that are accompanied by some theatrical vocals, but unfortunately a big time lull in the middle of the tracklist brings it down.

One of those albums where its lack of mainstream success probably plays to its advantage. This mercifully short new Maroon 5 effort may be a more lowkey and less offensive effort from Levine but make no mistake it's still full of ear-grating decisions. I Like It is pretty awful, the sampling sucks and his accent on My Love is really obnoxious. A few bearable songs don't save this.

So Justin has kinda decidedly missed the mark here and it's a bit of a failed experiment but like god damn at least he's trying something interesting. There's a concept and vibe going on here that nearly gets propely going at parts but Bieb's lack of songwriting talent just keeps it back.

A triumphant return that for Clipse who aren't afraid to evolve and reinvent their approach in the face of a near twenty-year hiatus. In a way this is carried by its features and Pharell's fantastic production, in the sense that I don't think it would receive anywhere near as much fanfare without either. However at the same time Push and Malice are immaculate over the array of experimental beats that really make this record sound alive; it may be a drugged down half-dead kind of ... read more

Perhaps the most Drones-y TFS album thus far. Good timing too, since The Drones have been my most listened to artist this year. Even still, I was under the impression that this would be a lesser Liddiard & co. project overall just due to the singles and limited fanfare during the album's buildup - oh how stupid I can be. It helps that the best tracks (although Bloodsport and Teeth Marché are decent) are all the non-singles: Irukandji Syndrome brings back Liddiard's ... read more

You know I was not at all convinced by the singles during the leadup to this album. I thought it was just a load of 'mainstream artist makes something ambitious and everyone laps it up", but upon release of the full album I realised how wrong I was. The title track is still fine, certainly better in the context of the album, but it's the all about the second half here. Easy Lover is an addictive funky banger that should have really been the lead single. Golden Burning Sun and ... read more

Now this is the EXACT kind of Art Pop album I'm looking far. El Shazly lets her Egyptian roots permeate the album fully, but it's never only defined by that single crux. Some tracks are more industrial and mysterious, others are more folky and introspective. It creates an interesting grab bag that hosts a melting pot of genres and influences, the gorgeous Kaabi Ali, the cacophonous Ghorzetein and Dafaa Robaai, which sounds like it could have come straight from a Muslimgauze album, are ... read more

A huge bearing on how you perceive this album is your experience with Addison Rae as an influencer prior to her foray into music. I know she is one of the most popular TikTok users but to me that's just a title. Whether it was I Got It Bad from a couple years back, or this album, all I hear is another pop singer trying to break that mould, and on her self-titled debut I must say Addison does a very decent job of it. I like that in spite of its ethereal downtempo vibe there's still a ... read more

Just a bit disappointing to be honest. I kind of expected an inconsistent record but it's a bit of shame that Marina's has strayed away (generally speaking) from the hyperpop / digital direction for something more folk-y and traditional. That's her prerogative of course but it doesn't change the fact that I wish more of these songs had more bite.

More of the same average nothingness from Ghost, very much like their last album. It's sometimes catchy but also comes perilously close to butt-rock at times too.

Pretty much everything that people disliked about Prioritise Pleasure is exacerbated here, and where there were some real songwriting moments of magic on her last album this new one is sorely lacking that same creative spark, and instead comes off as awkward, tedious and unfinished.

I'm getting the kind of feeling I get when I watched my favourite movie(s) for the first ever time. Every single song is a complete and utter powerhouse, though each track hits you in a different way and from a different angle. Heavier than most Deafheaven works, there remains a dreaminess that's prevalent on all their albums. But make no mistake, to say that this finds a satisfying midpoint between the lush poppiness of Infinite Granite and their heaviest stuff would be wildly ... read more

Classic Wilson.

Insipid pop where Banks throws as many things as she can at the wall and in the end nothing sticks. A shame and also kind of funny considering songs like Beggin for Thread, despite being over a decade old, sound more modern than whatever trend she is trying to chase on here.