'The Ground' is a perfect opener for Hackman's first album in five years: a beautiful, immersive, meticulous piece of art which may well be her best
D-Block Europe are hardly renowned for their captivating lyrical content, but after a run of projects boasting solid production and relatively witty bars, it appears the duo has reached a weak point. Adz and LB seem lazier than ever on 'Rolling Stone', an album that begins unlistenable and rarely gains any momentum. That said, there are highlights: 'Skims' is a decent single, and a lot of the album tracks bring exactly what their audience has come to expect, yet overall the project is too dull ... read more
CABL introduce themselves with 5 mesmerising, exceptional tracks: the title track 'See You In a Year and a Half' is, on its own, enough to clarify that the Irish band are certainly ones to watch in this new year
With guests including Happy Mondays' Rowetta, The Libertines' Peter Doherty and Reverend & The Makers member Jon McClure's wife, Shed Seven launch into the year with a burst of energy and a set of songs that are nothing if not festival-season-ready. On the surface the tracks may seem inoffensive, but what matters is that they're enjoyable, and that the Britpop band aren't far in quality from their 1990s height
Oddly placed voicemails and redundant features pervade the 9 tracks of 'Breakfast in Lagos', resulting in a project which is ineffective, and at times derivative. The Nigerian producer attempts to explore the trials, tribulations and turbulence of women and relationships but ultimately comes off as an uncaring misogynist no matter how fictionalised these tracks are. Highlights such as 'Time Alone' which genuinely do allow Sholz's production to shine are unfortunately undercut by unnecessary ... read more
It's very clear what Lazy Days is going for here, but the execution strays too far into the all-too-familiar landscape of bedroom pop and ends up dull and derivative as a consequence despite the infectious qualities of parts. Both the lyrics and instrumentals are, well, Lazy, and while this LP would slot easily into the popularity of hazy DIY trends of 2020, unfortunately that time has passed and Lazy Days will not be the next Still Woozy
At this point in time, Glasweigan five-piece VLURE have so impressively honed their rave-laced blend of punk rock, and set themselves out from others with their originality and innovation, that it is genuinely surprising they haven't been around for long. This EP may only be their second, but it sounds like a band who know what they're doing, and who are certainly here to stay
A decade after its release, State Champs' 'The Finer Things' sounds just as fresh. This album demonstrates just how early in their career the New York natives had perfected their sound, and for that reason it still stands as one of the best in their catalog
ratbag's 'why aren't you laughing?' is laced with cliché, presenting an over-done worldview which lacks original perspective. However, across the EP there is a huge potential showcased, and while at times it feels like listening to the female YUNGBLUD, at others there are glimpses of true, fresh talent and buoyancy
While Cook and EasyFun are admittedly overshadowed by collaborators such as Caroline Polachek, Charli XCX and Wolf Alice's Ellie Rowsell, overall their production shines and PC Music reigns supreme once again. A late contender for album of the year, 'Soft Rock' is entirely the opposite of its title, operating instead as something innovative, exhilarating and purely alive
'Sidelines', the final single from this EP, is genuinely good; however, there are very few highlights beyond this. As is common with many singer-songwriters of his calibre, Alfie Indra's attempt at reliability present even through the title 'Shower Thoughts' appears so blatantly superficial that it ends up being painful and dissatisfying
Relatability, personality and a silky-smooth voice: Nia Chennai has, early in her career, already mastered the formula, and may well be on her way to becoming the next Jorja Smith
From the moment opener 'Leaving The Light' begins, it is clear to any listener that what follows will be exciting, innovative, original and outstanding. Throughout the album, Owusu darts between genres such as dance-punk, soul, and funk, exhibiting an extensive range of influences and cementing himself as an irrefutably promising prodigy
Unfortunately for Wilson, his voice is not impressive nor strong enough to compensate for his dull blend of love-lorn sad boy pop. His lyricism is simply banal, boring and cliché: this is evidently an artist shying away from anything other than safety
With witty lyrics and a notable genre fluidity, Milk.'s '3, the EP.' continues their series of instalments in a way which impressively exhibits their diverse and promising contributions to modern indie music
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