Massachusetts big gun progressive sludge/metalcore outfit Cave In dropped their gigantic album, Heavy Pendulum, via Relapse Records a few days ago, the band’s first album since 2019’s Final Transmission, which many perceived as the band’s swan song. Cave In added…
‘Preacher’s Daughter’ review : Ethel Cain delivers a strikingly singular and profound debut full-length album
With the arrival of her debut album, the delirious dreamscape of the gothic Americana-inspired Preacher’s Daughter, Ethel Cain (the multi-genre project from Hayden Anhedönia) cements herself as a formidable powerhouse of an artist. With her impulse for theatricality in every aspect…
‘How To Let Go’ review: Sigrid makes a powerful statement on self-reflection, loneliness, and individuality
One thing Sigrid is going to do is going to deliver a killer hook. While many in her shoes would simply be satisfied with becoming yet another teen pop sensation with no substance to their music, she manages to find…
‘Tell Me That It’s Over’ review: Wallows have legs firmly planted on the indie-pop ground
Wallows have got the indie-rock game locked down. But their new album, Tell Me When It’s Over, explores experimentation one only hopes they dived into further.
‘Crash’ review : The latest from Charli XCX fails to live up to her best
Pop-singer Charli XCX has had an eclectic and genre-shifting career since her debut with the 2013 album True Romance. With an arsenal of guest musicians over almost a decade, from BTS and Lizzo to SOPHIE and Carly Rae Jepsen, she…
‘The Jacket’ review: Widowspeak create a dreamy safe space to shelter inside
Six albums in, Widowspeak release a remarkable shoegaze-sounding album, chock full of sweet metaphors and honest heartbreak.
‘Love Sux’ Review: Avril Lavigne time wraps to the early noughties pop-punk fever dream
With the beginning the current pop-punk revival we are in, Avril Lavigne is back with Love Sux, the ferocious new offering from the singer drawn from early noughties nostalgia reflected through a modern perspective. But calling it Lavigne’s symbolic return to…