As unchallenging as it is, there can never be enough good pop records in the world.
It’s hard to diagnose the ailment 99.9% suffers from, but experience and stronger lyrical collaborations would go some way towards curing it
Montreal’s No Joy are sticking two fingers up at everyone that’s ever tried to pigeonhole them
It’s been four years since the release of their self-titled debut, but As Above So Below is worth the wait
Every Now & Then is beautifully textured in sublime layers of synth, rhythmic guitar and backbeat, creating glorious atmospheric dreampop.
I'm Yours is a crutch for anyone who’s been left feeling emotionally bruised by life
This round up of their material so far adds another dimension to the band’s spritely sound and shows off their ability to pen an earworm in whatever guise.
Nevertheless, it's brimming with charm, and The Big Moon are certainly one of the most capable new bands making music today
If the album's flawless predecessor put The War On Drugs on the map, this effort cements his project as the finest exponent of Americana indie rock on the planet.
This time, he's apparently digging the Pet Shop Boys and New Order. And man, do I dig how he digs the Pet Shop Boys and New Order.
Eleven tracks of fast-moving, relentlessly catchy, hairs-on-end hits with hugely quotable choruses that feel liberating and powerful to dance and shout along to.
The album is bound together by a cohesive vision of grumbling psych rock, put together with a DIY attitude.
Don't be deceived by the opening post-punk guitar work, this album is synth-heavy and psych-laden...
It instinctively feels like Popcaan has just recently clicked into top gear and has no intention of slowing down, read our review of his new record Forever.
Danny Wright gathered Gemma Samways and Thomas Hannan to discuss the band's welcome return.
Across the six tracks, CHAI embrace self-love and acceptance, reject beauty norms, tackle the world of modern dating and alight on the 'Hello Kitty cult' with their playful and defiant vitality.
Phantom Forest is her most sonically taut yet – one for listeners seeking evened plains – a concept record about humanity’s disregard for nature that’s set to a crisp, synth-pop soundtrack.
It might not quite touch the white-hot fury of the first three albums, but it’s honestly the best – the most alive – they’ve sounded in years.
Full of sci-fi waltzes and intricate samples layered beneath tongue-in-cheek hooks and hefty basslines, Transmission Suite is understated, disjointed and masterful.
Although the results are a bit too eclectic and random at times to feel like a well-rounded album, you get the sense with ShitKid that’s the sort of thing they wanted you to expect.
"Williams made the album together with her self-proclaimed “chosen family” which is most likely the reason behind the album’s organic yet confident sound."