DAISY GRAY looks at the state of music journalism today. Meta, right? Human beings love reproducing things in words: art critics describing art, poets saying..
RUSHEEN BANSAL contemplates prejudice and ‘snubbing’ in the Grammy awards nominations. The Grammys, arguably the most coveted awards for musical excellence, never fail to garner..
ALEX HEWITT reviews Adrianne Lenker’s recent releases, songs and instrumentals. 2019 was a banner year for Adrianne Lenker’s band, Big Thief. They released two of..
DAISY GRAY reviews Working Men’s Club’s debut album. The self-titled debut album of Yorkshire-based band Working Men’s Club is an absolute synth delight. Momentum is..
PERA CUMUR discusses the downfall of Californian label Burger Records, and the distorted legacy of groupie culture. In July 2020, the emblematic Californian label and..
IZZY RENDELL reviews Moses Boyd’s Mercury Prize-nominated album, Dark Matter. Moses Boyd’s musical career has spanned many different identities, ranging from drummer, composer, bandleader, and..
IMOGEN DICKINSON reviews Kano’s 2019 performance at the Royal Albert Hall in light of Kano’s Mercury nomination for his album, Hoodies All Summer. Last October..
THEA RICKARD reflects on the musical prowess and themes of womanhood in Laura Marling’s music, following the Mercury nomination for her new album, Song For..
TOM WHEATLEY looks at how urbanisation is reflected upon in music. With the urbanisation and gentrification of existing cities and large towns everywhere, and with..
DAISY GRAY reviews Bananagun’s debut album, The True Story of Bananagun. Australia has produced some of my favourite bands in recent years – King Gizzard..
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..
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