These are capital B.I.G. anthems, which effortlessly meld disarming post-industrial clamour and tweaked vocal loops into the fold of more familiar white-label grooves.
There are sexy saxophones slithering in and out of ‘Mr Sun’, nods to hazy summertime afternoons with friends and an air of sophistication wrapped around the EP that’s extremely promising for such a new face on the scene.
A bold sonic exploration into melancholia, the album darts between deft vocal samples, swift tempo shifts and sublime key changes for maximum impact, keeping listeners clinging on throughout the 16-song collection.
Banjos and close, beautiful harmonies abound, and while it’s hard not to long for the gloomier, stranger side of some of his stellar earlier work, there’s no denying that this is a very gorgeous record.
"Hadley might be painting an image of a dark, nihilistic world but he does so with a gold brushstroke"
While his tunes may appear shambolic, feisty and disjointed, they’re much more like three-minute masterpieces than mere doodles.
Myths 004 is an outstanding record that continues the innovative work of Le Bon and Cox, while keeping us guessing as to what comes next.
Though it doesn’t sound coherent enough to seem like she’d planned to release the project as a full-length album, as a side-project, it’s given Lucy more space to experiment and she sounds all the freer for it.
Paired with striking artwork and a forthcoming AV show, Amnioverse stands as Lapalux’s crowning glory and one of Brainfeeder’s most essential bodies of work.
Musical direction differs from that of his past, but by incorporating raw, truthful elements into his music, Alfons has created an inspiring record – and his most consistent to date.
Worth the wait? Danny Wright decides with Thomas Hannan and Stephanie Phillips.
With an uplifting sound and fresh new perspective on the world, the album brilliantly highlights the importance of human connection and experience.
There are tambourines and sweet harmonies. There’s a Lemonheads moment on ‘Can I Just Call’, a whole lotta cowbell on ‘She’s A Fantasy’ and slightly fuzzed-up Fannies on ‘Try Not To Hang On So Hard’.
Less uniformly ambient than their debut, this follow-up offers a range of mood pieces reportedly inspired by seismic life events, and the sacred significance of the number five. There’s not a dud amongst them.
"It's just nice to have music out and be a band again...though you’re always a little unsure if people will still care."
Their sonic tomfoolery reaches a critical point on their seventh album, striking a newfound balance between scary precision and terrifying power. It’s a potent mix.
Danny Wright discusses King Princess' first album, Cheap Queen, with Katie Thomas and Kezia Cochrane.
Yet even when Frahm is at his most ambitious, you get the sense it comes almost effortlessly to him.
As the title suggests, blood paints the walls of every nightmarish room Diggs' narrator staggers through here - we review Clipping.'s latest horror-inspired release.
There are few bands around who pack as much to think about into a few short lyrics too.
A record dominated by engaging sonic beauty and real emotional impact, Dawn Chorus is an exceptional eulogy to the mercurial rave experience.