TOM WHEATLEY reviews the 10th anniversary reissue of The Joy Formidable’s debut EP A Balloon Called Moaning. After an astoundingly successful decade of rumbling riffs..
ENERZAYA GUNDALAI explores the relationship between Berlin and techno. With techno, there is nothing in between: you either love it, or hate it with your..
MANASVINI MONI discusses The Weeknd’s My Dear Melancholy. Until My Dear Melancholy, Abel Tesfaye (known by his stage name, The Weeknd) had not released an..
DARCY BOUNSALL reviews IDLES’ Joy as an Act of Resistance. Bristol-based punk outfit IDLES’ Joy as an Act of Resistance. is the swift follow-up to their..
CHARLOTTE GUO reviews her album of 2018 Insecure Men by Insecure Men. The story of Insecure Men starts with a primary school friendship in Herne Hill,..
MARC BARNARD reviews his album of 2018: Julia Holter’s Aviary. Aviary bursts into being with a four-minute extended crescendo; a feverous din of strings, keys..
PREETHOM PAL reviews Earl Sweatshirt’s new album, Some Rap Songs. I always think I have Earl pinned down, but his latest release brings yet more intrigue..
THOMAS CURY reviews singer-songwriter Scott Matthews’ performance at the Union Chapel. The term “singer-songwriter” is often quite liberally applied, and can mean quite a lot..
ABDUL RASHIDI reviews Awolnation’s new album, Here Come the Runts After their most notable hit was hijacked by the now deceased app Vine, Awolnation are..
NATALIE RUSSO reviews UCL Live Music Society’s annual showcase, Rhapsody Rhapsody 2018: A Live Music Show took place at the Shaw Theatre across two nights..
DAN JACOBSON reviews string orchestra Scottish Ensemble’s performance at King’s Place. High school concerts were always a sordid affair. They would invariably begin with a..
