Selma Rezgui reviews Arca’s latest self-titled album. Alejandro Ghersi (a.k.a Arca) has embodied many musical-artistic guises throughout his lengthy and prolific career, morphing fluidly from..
LAITH CAHILL reviews grime artist Stormzy’s debut album. I thought I knew what to expect from Stormzy’s debut album, Gang Signs & Prayer. ‘Shut Up’, his..
DANIEL JACOBSON delves into The xx’s I See You, a significant departure from the band’s previous minimalist and lo-fi releases. A blank, silver, reflective screen; a distinctive..
ANNA WESTWELL explores how the female voice has evolved in music. For centuries, music has been inherently male. Few female classical composers from the seventeenth..
THOMAS CURY reviews Live Music Society’s annual extravaganza at the Shaw Theatre. Rhapsody is billed as ‘the biggest event on the Live Music calendar.’ Hosted..
SOPHIA COMPTON explores the career of the late, great William Onyeabor. On the cover of one of Onyeabor’s records, ‘Atomic Bomb’ is emblazoned in an..
SOPHIE NEVRKLA writes about one of America’s best, but most divisive, young songwriters. On Saturday 21st January 2017, I did not attend the Women’s March in..
ZSÓFIA PAULIKOVICS explores the relationship between music, women and automobiles. In 1991, Ridley Scott’s iconic road movie Thelma and Louise premiered to critical acclaim, catapulting its..
SELMA REZGUI reviews female rock group Savages’s latest gig at the O2 Academy Brixton. Erupting onto London’s music scene in 2011 in the hope of injecting..
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