Reviews

A technicolored, varied collection of songs that drifts between electronic-pop hits and intimate ballads.

The o2 moves as one, united in adoration for this band that have transcended cartoon concept to become the bringers of the biggest party on this rotten planet.

Visually it’s fantastic, but it’s the acerbic precision with which he spits out each bar that’s especially impressive

...a dreamlike journey into his subconscious that builds on the Hitchcockian world of his debut while adding more Cronenberg horrors.

Breaking new ground or on the decline like Arcade Fire? Gemma Samways and Danny Wright dissect one of the year's biggest releases.

Kelela takes from the rich and gives R&B back its gusto. 

Equal parts thoughtful to reckless, Sløtface triumph with a blowout of fiercely fun pop tunes.

The album's glacial sparsity does sound jarring in the middle of summer, but they’ve always been a band of blending dynamics.

Latitude takes the opportunity of its twelfth edition to further verify its liberal, family-friendly superiority.

Citadel may have been their only UK festival of the year, but boy did Foals make it one of their best.

Being free from the grimey clutches of the Man is key to Brainchild’s appeal, joyous energy and critical success. It’s also the only festival I’ve been to and not seen a single can of Carling...

NOS Alive is an absolute blast of a festival.

The release showcases the fluidity of her vocal, at home driven by a drumbeat and immersive synths.

The Californian four-piece deliver a set that builds from mellow beginnings to a euphoric finish.

With his often deadpan delivery, and always sharp lyrics, Strang captivates and charms with less than cheery subject matter.

Going by the moniker of Yoke Lore, Brooklyn singer-songwriter Adrian Galvin has managed to impress with atmospheric beats and plush vocals on his latest EP.

Rips is a self-reflective litany of personal failings; a stream of consciousness on frustrations with self and society.

Lorde's new album full of heartbreak and Melodrama reviewed by Rhian Daly

Instrumentally the record is pleasant enough, if a little uninspired.

Comet Is Coming are a formidable live force...

Her voice judders like on record but in person it’s more visceral; it’s Olsen alone, but it’s her at her best.