sir Was, ‘Holding On to a Dream’ review
The man we once called “enamoured with the world” has opened out the low-slung, breakbeat collages...
Category: ALBUM REVIEWS
Alex Cameron, ‘Miami Memory’ review
While 2017’s Forced Witness spawned tiresome arguments over how much of the loathsome subject...
Devendra Banhart, ‘Ma’ review
Devendra Banhart leans further into his experimental inclinations on Ma, the Venezuelan-American...
Charli XCX, ‘Charli’ review
Charli Aitchison recently tweeted: “I’ve been kinda a chart flop recently but… honestly, I’m...
Mike Patton and Jean-Paul Vannier, ‘Corpse Flower’ review
Elise Faul opens the petals of the captivating new album by Faith No More’s Mike Patton and...
Sampa the Great, ‘The Return’ review
This one’s for the history books. In 2019, after years of anticipation, Sampa the Great...
(Sandy) Alex G, ‘House of Sugar’ review
The new album from (Sandy) Alex G is as densely knitted as the wood through which Hansel and...
The Delta Riggs, ‘Modern Pressure’ review
“You can tell Mister Townshend that I’m the pinball wizard!” The Delta Riggs...
Iggy Pop, ‘Free’ review
Iggy Pop’s long creative ride – from The Stooges, to his Bowie-collabs, to some scattershot solo...
Bag Raiders, ‘Horizons’ review
We, in this generation, entomb our one-hit wonders in memes, giving them new life beyond the...
Bat for Lashes, ‘Lost Girls’ review
Natasha Khan, better known as Bat for Lashes, has become renowned for her cinematic soundscapes,...
Summer Flake, ‘Seasons Change’ review
On Seasons Change, Adelaide-via-Melbourne musician Stephanie Crase rounds out a trilogy of...
Ash Grunwald, ‘Mojo’ review
“Sometimes I don’t know where this dirty road’s taking me,” Ash Grunwald sings on his 12th album,...
G Flip, ‘About Us’ review
The little broken-heart-eyes on the face of JeReMo – the digitally-animated bass skin on G Flip’s...
Montaigne, ‘Complex’ review
“I like listening to you,” Montaigne sings at the start of her second album, “with my fingers in...
!!! (Chk Chk Chk), ‘Wallop’ review
Recorded in vocalist Nic Offer’s Brooklyn apartment, the eighth album from !!! (Chk Chk Chk)...
Tones and I, ‘The Kids Are Coming’ EP review
The monster brass-bash of the opening, title track from Tones and I’s debut EP The Kids Are Coming...
DZ Deathrays, ‘Positive Rising: Part 1’ review
DZ Deathrays’ previous Bloody Lovely set reached #4 on the ARIA Albums Chart. Its follow-up,...
WAAX, ‘Big Grief’ review
Like a championship title fight, you might have to take a few blows on the way to victory....
City Calm Down, ‘Television’ review
Switch on City Calm Down’s third album and you’ll be confronted by flickering images and some...
Shannon Lay, ‘August’ review
August arrives in August. It’s a seasonal synchronicity, but there’s a deeper...
Jay Som, ‘Anak Ko’ review
‘Anak Ko’ means “my child” in Tagalog. It’s a phrase used by Jay...
Wagons, ‘Songs from the Aftermath’ review
Songs From The Aftermath, Wagons’ first album in five years, is a strange beast. Adventurous and...
King Gizzard and the Lizard Wizard, ‘Infest the Rats’ Nest’ review
All hail the mighty Gizz and their 15th album release in seven years! From their previous Fishing...
Eilen Jewell, ‘Gypsy’ review
Eilen (sounds like “feelin’”) Jewell is from Boise, Idaho, and started singing in...
Sleater-Kinney, ‘The Center Won’t Hold’ review
Sleater-Kinney present a new electrified version of themselves on The Center Won’t Hold, the...
Killswitch Engage, ‘Atonement’ review
Killswitch Engage are one of modern metal’s most renowned bands. They injected much needed...
Birtles Shorrock Goble, ‘Full Circle’ review
What’s in a name? For all intents and purposes, this is Little River Band – but don’t tell the...
Bon Iver, ‘i,i’ review
The fourth album from Justin Vernon-led project Bon Iver completes the seasonal cycle begun with...
Marika Hackman, ‘Any Human Friend’ review
On her third album English musician Marika Hackman pushes boundaries and subverts genres...
