Geese - "Getting Killed" (2025)

Every couple of years there is a relatively unknown or newcomer indie act that drops a project that absolutely explodes in the music nerd circles of the internet, to the point where the hype becomes borderline obnoxious and a bit of a joke in itself. In 2019 it was black midi, in 2022 it was Black Country, New Road, and last year was Magdalena Bay. Geese's new record, Getting Killed, has become 'that album' for 2025. I feel like this effect has been even more intense for Geese than previously, with the atmosphere around the band being absolutely feverish and even peaking into the mainstream with the band being subject to SNL spoofs and being one of the first names on next years Reading and Leeds lineups (a festival I don't think any of the previous bands I mentioned have actually played).

Getting Killed is technically the band's fourth record, although most consider it to be their third 'actual' one, as they independently recorded their debut as teenagers and is currently not available on streaming services. I've been aware of the band since 2023's 3D Country, as Fantano gave it a glowing review that really signalled the start of their rise. However, I never actually checked it out, as I was a little burned out on the whole post-Brexit, Windmill Scene art rock it was being compared to (Similarly I've not given Viagra Boys a proper try despite similar levels of acclaim). But Getting Killed kept getting pummelled at me by TikTok as 'the' album of 2025, so I decided to give it a shot.

And yeah, I see why the pretentious corners of the internet are jamming this so hard. Frontman Cameron Winter's vocals resonate with this nervous, neurotic energy that definitely tickles that Isaac Wood shaped itch. The instrumentals are fiery and powerful, like early Idles or Fontaines. However, being from New York, I can hear the lineage of The Velvet Underground, Stooges, and The Strokes in their music, which gives them a sense of effortless coolness that their British and Irish peers could never dream of. It's a record that can appeal as equally to the chronically online music heads, and the indie kids chugging dark fruits in a muddy field. 

The record opens with Trinidad, a genuinely batshit way to introduce the audience to Getting Killed. The song slowly opens up with a subtle bluesy groove and Cameron's Thom York-esque croon, before it the chorus hits and absolutely bombards you with blasts of discordant noisy guitars and horns, as Winter and guest vocalist JPEGMAFIA wail "THERE'S A BOMB IN MY CAR!". The song is so in your face and insane, but in the best way. I don't think the song is explicitly about a terrorist, with the rest of the lyrics painting the picture of just a regular person who has just snapped. It's about how anyone has it in them to just flip and do something incredibly violent when they reach their limit. This segues into the wildly different Cobra. The song is this jangly piece of twee indie-country, with none of the batshittery of Trinidad. The song is just as off-kilter in its own way, with lyrics centring around comparing romance to a snake charmer in a very sinister, calculated way. However, it's disguised in the cute instrumental Winter's emotive croon.

This speaks to the variety in the tracklist. The title track and 100 Horses have a propulsive, Krautrockian energy to them. The bluesy guitar riff and chanted choral backing vocals of Getting Killed sound like what I'd image getting killed feels like. It's like a complete sensory overwhelm. There are also some very Radiohead-esque passages to the song where they strip it all back to just the bass groove that gives a real sense of dynamics to the track. 100 Horses doubles down on this overwhelming, chaotic vibe with lyrics such as "For all people must die scared, or they must die nervous". The song is build around this grizzled, gnarly guitar riff and layers of harmonised vocals. It makes the song sound larger than life and it only grows throughout the track as more and more layers come piling in

Husbands is a stripped back and chunky ballad where the gravelly tambre in Winter's voice really comes out, again featuring lyrics revolving death and violence and insincere relationships. Islands Of Man similarly is built around a chunky and funky bass groove with less of the chaos on top, with Winter crooning about about "what is real and what is fake". The song slowly builds up in intensity and volume, before it just cuts out and switches to much more beautiful horn driven finale. Half Real and Au Pays Du Cocaine sit back to back on the start of the second half and switch into very Velvet Underground territory. Half Real has that noisy, droning backing instrumentation reminiscent of The Black Angel's Death Song, and Au Pays Du Cocaine is a beautiful ballad with chiming guitars and world weary, lovelorn lyrics just like Lou Reed's best. I can see why this was the track that has popped off on TikTok. 

The record then goes on such a run with the final three tracks. Bow Down is rhythmic, groovy, art punk / Krautrock fusion with spikey, staccato guitar stabs and Winter's melodically descending vocals on the hook "You don't know what its like to bow down, down, down / To Maria's bones". The track then explodes into something much more loose and danceable in its final moments. Taxes is once again a very Radiohead-y ballad about self pity, comparing a failed relationship to paying taxes. At the half way point, the track goes from this very stark, ugly song and explodes into this very anthemic, beautiful, almost Coldplay-ish climax. This leads into the closer, Long Island City Here I Come, which returns to chaotic rhythms and disorienting layers of the title track and 100 Horses. The song is essentially like a big hype up song, with the protagonist returning from a set back (probably the breakup referenced several times in the lyrics throughout the album) to take Long Island City. The tempo just keeps rising and rising, and the layers just keep filling out as Winter chants "Here I come, here I come" over and over. It's as much a batshit closer as Trinidad is as an opener and such an energetic and fun way to end the record.

Getting Killed is an incredibly fun and varied listen, with some great songwriting and impressive playing throughout. I will say though, while it plays with some interesting ideas and themes, they don't really come together to form a really profound statement. Not that it needs to, but I do get the feeling that it wants to be saying more than it actually is. But taken for what is here, it is definitely one of the best records of the year and I'm very glad I'm going to be able to catch them live next year.

Top Tracks: Trinidad, Cobra, Getting Killed, 100 Horses, Half Real, Au Pays Du Cocaine, Bow Down, Taxes, Long Island City Here I Come

8/10

Tame Impala - "Deadbeat" (2025)

Kevin Parker, the mastermind behind Tame Impala, is self-admittedly a perfectionist and as fame and critical acclaim has come his way he has taken longer and longer to craft each new record. There was five years between Currents (which took him from indie darling to one of the biggest names in music) and The Slow Rush - which was itself nearly 6 years ago now. The Slow Rush era started with a bit of a sputter, with the original lead single, Patience, scrapped from the album and second single, Borderline, entirely remixed for the album version. I personally really like that album (and actually prefer it to Currents), but on the whole it wasn't met with the same rapturous praise that previous TI albums had been up to that point. In the years since, Kevin has been extremely active as a producer and collaborator, delving further into his dance tendencies working with Dua Lipa, Gorillaz and Justice just to name a few.

So it is not a surprise that for the 5th TI album, Kevin has gone fully dance and basically made a house and techno album. Aside from the hazy, reverb-laden vocals, the psychedelic rock and pop that the project built its name on has basically all gone. The first taste of the record we got was the closing track, End Of Summer. The song didn't have anything notably awful about it, but felt really bland and lifeless for a house track. It felt throwaway and uninspired, like something Kevin was just working on something and just wanted to throw it out there, not the lead single to a new album. Considering the false start to The Slow Rush rollout, I had hoped that maybe it was just a non-album single that wasn't going to be characteristic of the whole record; but then we heard Loser, the second single, and I started to sense that we were in for a real misfire. I like the first three seconds of that song, with its warbly, psyched out, mariachi-esque riff. But it is then repeated at nauseum for nearly four minutes with some really trite lyrics about being a loser ect. Kevin has a tendency to be indulgently self deprecating (why I'm not the biggest fan of Currents despite everyone else loving it), but one of the major themes of The Slow Rush was about Kevin accepting himself for who he is and to stop comparing himself to others about where he should be in life and how people perceive him. It feels like such a regression and also really doesn't do anything with the topic. Where Lonerism really delved into Kevin's psyche as an outsider, Loser just feels like him wearing it as an aesthetic despite him being incredibly successful and adored at this point.

Things improve a bit with the third single, Dracula - mainly due to it being more melodic and having a somewhat funky and fun bass groove. It actually feels like a complete song, where End Of Summer and Loser just felt like first drafts. However, it is far from TI's best, and does get a little repetitive over a few listens with its simple melody and kind of garish Halloween theming. The only other somewhat redeeming song is the opener, My Old Ways. The intro to the song is a very stripped back vocal passage from Kevin and stark piano riff, which is then met by a bouncy, danceable house groove that comes in at the midpoint. It hasn't got anything on any track from TI's back catalogue, but stands out by a country mile when compared to the dross on the rest of the album.

Deadbeat's biggest crime is that for a dance album, it is just so boring. It's instrumentally lifeless, and so poe-faced and self-serious. Outside of Dracula, it has no sense of fun. It's 55 minutes of Kevin moping about, complaining about 'how much of a loser he is' over washed out, greyscale beats with no sense of melody or groove. No Reply sees Kevin complaining about a mismatched relationship where he comes across as the loser in the situation. The lyric "You're a cinephile, I watch Family Guy" has already been memed on the internet for how dreadful it is. Everything about the song is so tiring, from the repetitive beat to Kevin's monotonous drawl. Oblivion sounds like a smooshy, reverbed to hell version of the Minecraft soundtrack with a beat under it; and Piece Of Heaven is the same but for Enya's Sail Away. The first half of Not My World is pretty boring, but then does layer up into more enjoyable dance groove towards the back end of the song.

While the album is initially bland and lifeless, but generally tolerable; it's at Ethereal Connection that it really starts to wear on me. The track is a needlessly long and uneventful techno tune with not a single moment of interest within its runtime. It kills what little engagement I have with the record and makes me want to turn it off before the last few tracks roll past and fail to hook me back in. Even the good TI albums can be criticised for being a bit too long, and Deadbeat really doesn't justify its length.

Everything about Deadbeat, from its name to its boring music and defeatist lyrical content make it feel almost like self sabotage. Part of me wonders if Kevin has subconsciously deliberately released a half-arsed stinker of an album to try and relieve himself of the pressure of expectations that his legacy has created. The drop in quality is just that significant and that weird. Kevin knows how to make a dance song, just listen back to Let It Happen, or Breath Deeper, or Neverender with Justice. I'm glad I'm done with this review, so I don't ever need to listen to Deadbeat again.

Top Tracks: My Old Ways

3/10

Olivia Dean - "The Art of Loving" (2025)

If there has been one breakout popstar of 2025, it has to be Olivia Dean. She has been absolutely everywhere this year. She's had a steady rise over the past few years, cropping up on features and I remember Dive from her debut record being a pretty moderate hit and hearing it on the radio pretty frequently. But something has been in the air with the roll-out of this album. Lead single Nice To Each Other quite quickly went viral on Tiktok and its not hard to see why. The very detailed, intimate lyrics about love without labels and summery, washed out synths, reverb-y pulsating drum beat and gentle strumming is tailor made for 'wholesome' montages of people's summer escapades. The song is pretty damn catchy to boot. Following on from that, she went Tiktok viral again for her duet performance with Sam Fender on his track Rein Me In (which was then released as a single that also charted in the top 10). I think it was at this point that we all knew that this album was going to be big.

The second single, Lady Lady, has been more of a grower for me. The gentler neo-soul instrumentation and a less earwormy hook made it have less of an immediate impact on me, but over time the themes of constantly being in a state transition and 'trusting the process' have really sunk their teeth into me. It is one of the most mature songs on the record and is the only one that isn't overtly relationship centred, which makes it a notable exception as you get deeper into the record. Man I Need was released as the third single, and while it lacks a little of the depth of the first two singles, it makes up for it by being so damn fun and catchy. The bouncing piano riff and Olivia's warm, impassioned delivery have made it her biggest hit yet, even crossing over into the US charts.

Unfortunately, this momentum hasn't really carried into the rest of the tracks here, as they feel very safe and by-the-numbers both lyrically and musically. So Easy (To Fall In Love) has been released as the fourth single alongside the album's release and musically it is a pretty bog standard bossa nova tune; and lyrically, while it is cute, it is so underdeveloped and cliché. The second verse opens with "The way I do my hair, the way I make you laugh / The way we like to share a walk in central park" and really epitomises this. Where Nice To Each Other was relatable through its detailed lyrics, So Easy just goes for broad generalisations to achieve the same relatability. It is catchy, I'll give it that, but it doesn't have the legs that the other singles have.

Much of the rest of the album follows suit, being songs that sit very comfortably within the textbook definitions of their various styles, and all having very generalised, borderline-cliché lyrics and themes revolving around love and non-committal relationships and heartbreak. Close Up has that smoky, throwback jazz-soul fusion vibe akin to Amy Winehouse, but lacks any of the rawness or danger Winehouse is known for. Let Alone The One You Love is a pretty bog standard slow-jam waltz and Loud is the big, bombastic, Bond theme-esque power-ballad. Olivia's personality on the singles just doesn't translate to these tracks.

Things do pick up again towards the back end of the record, with some of the more detailed lyrics returning on the track Baby Steps. It's not mind blowing, but I like the ideas around taking 'baby steps' when moving on from a heartbreak and the little moments of yearning that occur when you'd least expect it. "No-one to text when the plane lands" as Olivia puts it. She also pulls off the vintage 60's R&B of A Couple Minutes, even if it isn't a new spin on the style. The record closes out with the acoustic ballad I've Seen It about not giving up on love and seeing it everywhere: with your parents, friends, and strangers out in public. It's a nice full circle moment back to the carefree love of Nice To Each Other in an album that does get caught-up in the Heartbreak in places. 

There is some real highlights on The Art of Loving, but they are surrounded by what are some pretty standard pop soul tunes that don't really move the needle either way for me. Olivia's warm, heartfelt vocals are consistently great throughout, so it's pretty easy to throw on in the background; but I am am bit disappointed considering how great the singles were. I think Olivia has it in her to carry on from this and make a deeper, more consistent record for the third to around.

Top Tracks: Nice To Each Other, Lady Lady, Man I Need, I've Seen It

6/10

Hayley Williams - "Ego Death At A Bachelorette Party" (2025)

Hayley Williams has hit us with her 3rd solo studio record and its quite an interesting one to talk about through the context of its method of release and where it sits in Hayley's artistic journey both within and outside of Paramore. For anyone not in the know, Paramore is band famous for their instability and volatility since it's inception. Originally formed when the group were still teenagers in high school, they have experienced constant line-up changes, tensions within the band over differing politics and worldviews, contracts and writing credits, and even romantic break ups. However, following on from their 2023 record, This Is Why, it seemed like the band (and Hayley herself) had finally settled into a good and stable place. The band had released two records under the same line-up for the first time ever, their acclaim was growing in the more snobby musical circles that dismissed their earlier work, and had finally run down their exploitative 360 record deal with Atlantic. Also, after going through a messy divorce, Hayley was now dating the band's guitarist Taylor York after being friends for 20+ years. I was definitely expecting another Paramore album before HW3, but on the first listen it becomes quite apparent why.

But before we get into the meat of the record, I want to talk about the rollout of it, as was pretty unconventional. Free from the shackles of the record deal with Atlantic, these songs first appeared on Hayley's website behind an unlock code (originally found on bottles of Hayley's hair dye, but it instantly became easy to find online) as an unstructured, interactive list of individual tracks. After a few days, the webpage was taken down and a couple of days after that they were released to streaming as individual singles. It was then about a month before they were compiled into an actual album with a tracklist that was inspired by fan submissions - with one additional closing song that we hadn't heard prior. This definitely gives these songs a distinct feel, like they're all within the same world but aren't meant to be taken as a discrete narrative with a clear start and end. My experience of the opener, Ice In My OJ, exemplifies this. On my first listen to the songs on the website, Ice In My OJ cropped up around the middle of my selection, so I had never really considered it as an opener. But when placed in that context, it does indeed work. The 'smack you around the face' hard intro and staple alt rock loud-soft dynamics during the chorus / verse structure. The record also sonically jumps around from alt rock to new wave, to pop, to singer / songwriter and more - making it feel more like a scattershot of ideas and feelings, rather than a curated story.

This is all in aid of the main themes of the record, as it is quite obviously a break up album. But as a woman in her 30s who is quite open about her struggles with trauma and her mental health, and her journey through the process of healing; Hayley is not interested in dragging Taylor through the dirt (although there are a few cutting lines sprinkled throughout), or presenting a version of events to convince us as the listeners to be on her side of the breakup. She has even gone as far as to say in interviews that Paramore are not breaking up and Taylor is still in the band (as impossible as that might seem). The attitude and atmosphere of Ego Death is a distinctly jaded malaise, as Hayley has found that despite all the work she has put in to improve herself and her life, it has all come apart once again. The pain is there and very visible, but without the raw and egocentric melodrama that comes with youth.

Ice In My OJ is quite an oblique song to start the record, and is followed by the much more direct and accessible Glum. It is a moody pop rock cut about feeling low and alone with a big anthemic chorus, and was the last song I listened to on that first 'pre-tracklist' listen, so in my head was the closer - but it also works in that typical 'lead single that is second in the tracklist' slot. I am generally gravitating to the more rock leaning cuts here, as I think that they are more Hayley's bag, although there is a level of quality across the songs that makes this Hayley's most consistent solo release. Kill Me is another catchy pop rock cut about her struggles of generational trauma and the sense of martyrdom that comes with being the eldest daughter - always having to pick up the pieces for everyone else. Mirtazapine is a noisy 90's-esque alt rock love song dedicated to the anti-depressant that allows her to function on a day to day basis. It is unique framing to talk about depression and medication, allowing to Hayley to delve a bit deeper into the more mundane impacts depression has on her life. Hard is another heavier cut where Hayley delves into growing up in such a masculine, emotionally aggressive environment and how she had to act in the same ways in order to survive, not being able to express the gentler more typically feminine sides of her personality.

The title track and True Believer swing a bit more broadly, tackling the ills Hayley sees in her hometown of Nashville and Southern USA as a whole. Ego Death tales the tale of Hayley being out on the town during the titular event and the commercialisation, loss of identity and increasing inequality has turned the place into something she no longer recognises. There is a not so subtle dig at "a racist country singer" that has seemingly gotten away with their actions due to their popularity and success. True Believer further expands on the legacy of slavery and racism within The South and the impacts it has today on the region. Hayley really doesn't hold back calling out the racism that still to this day persists, particularly within the white, gun owning, right wing, fundamental Christian communities.

Disappearing Man is another catchy pop rock song that quite earnestly tackles how Hayley was giving her all to Taylor and his own walls and ultimately pulling away himself was the ultimately the undoing of the relationship. Similarly, Brotherly Hate implies the impact this has had on the relationship between Taylor and Paramore's drummer Zac Farro. Much Like Ice In My OJ, the lyrics are a little more obtuse, leading you to read between the lines a little bit. Negative Self Talk is a moody, Radiohead-esque ballad about exactly what the title suggests, the spiralling negative thoughts that lead you tapped in your head.

Discovery Channel is a bit of an odd one, as it interpolates the chorus of Bloodhound Gang's "The Bad Touch", which for anyone who's heard that song will know - it's not a serious one. Hayley mostly-successfully flips it into something that fits into quite a serious and downtrodden song, but I cannot think of it without thinking of the original. The new wave-y, plinky plonky synths and general sonic vibe of the song is weirdly upbeat compared to the rest of the record, which does make it stick out a bit. The back end of the album also calms down a bit, where the tracks feel more distant and hazy with less punctuating intense moments to jolt you out of the depressive malaise.

The last track I'd like to mention is the closer, Parachute. It was the only one not previously released as a single, and it really ties together the themes of the record. Before the album was released, it wasn't exactly clear from the rest of the songs what the state of Hayley and Taylor's relationship was. Clearly something had happened, but whether it was just a rough patch or a full break up was not clear. Some fans online were even claiming that the songs were actually about Hayley's previous divorce from years ago at this point. Parachute bares all with a sense of rawness and intensity that the rest of the album does not and provides a really cathartic and emotionally charged listen. The guitars roar and Hayley's vocals wail compared to her much more reserved and controlled approach throughout the rest of the album.

Ego Death At A Bachelorette Party is easily Hayley's best crop of solo songs and I think the release method has really aided the kind of loose, hazy narrative it is going for, because if you take it as a record in a traditional sense, it is a bit long and unfocused. And such, while I do enjoy it while its on, with some real highlights, I'm not sure I'd ever put it on in full over the last two Paramore albums, which were very tight and focused and 'complete'. There is still a lot of enjoyment to get from it though.

Top Tracks: Ice In My OJ, Glum, Kill Me, Mirtazapine, Disappearing Man, Brotherly Hate, Ego Death At A Bachelorette Party, Hard, True Believer, Parachute

7/10

Clairo - "Charm" (2024)

One of the pop girls I was getting into last summer that I didn't end up getting round to talking about was Clairo, and specifically her newly released third album, Charm. It's a very easy on the ears and summery album, so when the autumn nights drew in and the weather got worse, it fell out of my rotation and I didn't feel the impetus to write about it. However, I've found it returning back into my rotation again this summer and I think it's worth highlighting because I think its a pretty great album that has only grown on me in the 15 months since it's release.

Prior to this album cycle I was only aware of Clairo as one of the early breakouts from the mid-2010's bedroom pop scene and a mild nepo-baby allegations internet 'controversy', but I had never actually listened to any of her music before. So my first experience of Clairo in earnest was hearing the lead single for this record, Sexy to Someone, on the radio while I was driving. And damn it's a great first impression. The elegant 70s baroque pop instrumentation, subtle groove and Clairo's hazy, whimsical voice all combine to create this dreamy and relaxed atmosphere that feels so out of time against the chaotic barrage of information of the modern world. Lyrically, it is also really thoughtful and unique. As the title suggests, it is about wanting to be considered sexy by someone. But it is not a lustful song, or even a sexy song in any real sense. It's about pining for companionship and to be desired by someone, and for that person to come into your life and shake up the routine you've become complacent in. One of my favourite lyrics in the song is "Oh, I need a reason to get out of the house", which Clairo sings in such an unglamourous, straight-up way.

The rest of Charm further explores these themes of pining for love and connection, but feeling so far away from it - in your own lane and routine, well away from anyone that might come in and shake all of that up. This is all paired up against really gentle and low-key, throwback sophisti-pop, baroque pop and soft rock instrumentals that sound straight out of the 70's and 80's, further aiding that 'out of time' vibe throughout the whole record. On the opener, Nomad, Clairo compares her love life to that of a nomad, and how she struggles to connect with the people she is with and how she has the itching urge to always move on to the next thing, never letting herself settle down with someone. Thank You has similar themes, where Clairo basically admits that she knew a certain relationship had an expiry date from the moment she first met this person. The brazen admition of kind of using this person is really quite stark and not something you see a lot in pop music. Second Nature and Slow Dance are gentle piano led tunes where Clairo in turn expresses her confidence in a relationship and then her insecurities about one that is clearly fading out and in its twilight hours. The tracks are placed back to back in the tracklist and provide a sense of duality, where as much Clairo wants to believe that it will work out, she ultimately knows it wont. 

Terrapin is a jazzy tune that explores the simple things in life, and I really love the pianos and keyboards skittering about in the mix - it sounds really cool. This leads into Juna, which goes one step further and builds something more monumental. The song is certainly the centrepiece of the album with its ascending synth and horn lines and the strident hook of "You know me-ee-ee" that rises up with the instrumentation. Add Up My Love returns to the slightly meatier grooves of Sexy to Something, with some lush woodwind and strings to back it up. The song once again takes the idea of a break up and pining for someone, and spins it with the interesting idea of Clairo wanting to take all the time she is spending thinking about this person and condensing it into one chunk of 'sad time' that she can get through and then be done with. 

Echo feels very late 60's / early 70's to my ears. The hazy vocals, woozey psychedelic guitars and fuzzy moog synths really give off a Nico / Carpenters / Early Pink Floyd kind of mash up; whereas Glory of the Snow gives off a later, pop-era Fleetwod Mac atmosphere with the reverby piano and jovial melody. Pier 4 closes out the record as a simple acoustic ballad that wraps up the record's themes really well, referencing back to the ideas of not feeling romantically seen and kicking it out in your own lane that Nomad brought up at the start of the record.

Charm is a great album, it captures the vibe and atmosphere it is going for perfectly, and has a lot of really interesting things to say about its lyrical themes and ideas. While I did enjoy it last summer when it was first released, it has really taken its time to sink in with me and I like it even more now. I kind of got addicted to Bags from her second album when it went semi-viral on tiktok earlier this year, so I'm exited to check out the rest of her discography to see if it stacks up to this record.

Top Tracks: Nomad, Sexy to Someone, Thank You, Terrapin, Juna, Add Up My Love, Echo, Pier 4

8/10

Wolf Alice - "The Clearing" (2025)

Wolf Alice are a special band to me, with each of their records soundtracking my life over the past ten years - from teenager to student to adult. Visions Of A Life and Blue Weekend in particular are records that have never really left my rotation, and I probably listen to them a dozen or so times a year each. The Clearing comes just over four years after Blue Weekend, making it the longest wait between albums yet (VOAL and BW had just under four years between them), and it was clear (pun intended) from the first rumblings from the group that this was going to be a big departure from their previous three albums. Ditching their previous indie label Dirty Hit for the massive major label, Columbia; and enlisting pop super-producer Greg Kurstin - it is clear that the band are making a big swing at cracking the mainstream. (Despite their critical acclaim and the indie cult classic status of Don't Delete The Kisses, they've never had a top 40 single).

The first taste of this new era we heard was the bombastic lead single, Bloom Baby Bloom. The song is showy dramatic piece of piano-led glam rock, with Ellie Rowsell's soaring vocals gliding above a rollicking piano riff and snappy percussion. So it was pretty evident that the rest of the record would be leaning into the 70's rock revival that the indie scene has been obsessed with over the past year or so. As much as a like the song, I was a little worried for the album as a whole; as I'm not the biggest fan of Kurstin's production in general (particularly when it comes to more indie leaning acts) and Bloom Baby Bloom, while it does sound great, it is rather clean and shiny for a band known for their noisy, layered songs and fuzzed out guitars.

I'm glad to say that Kurstin hasn't butchered the production here (the opener, Thorns, is the only real offender of the dreaded 'pop producer throws in everything and the kitchen sink' cliché with it's unearned swells of strings, and excessive multitracked and tremolo effected vocals), but he doesn't really excel at it either. The record on the whole sounds way too clean and sterile, lacking the organic warmth and intimacy of the sounds and styles it is calling back to. It feels like the big budget, Hollywood, focus-tested version of a 70's throwback record - which is essentially what it is. I think the problem with this is that the songwriting is also a bit hit and miss (which is quite unexpected for Wolf Alice), meaning that the weaker songs here just breeze by without any interesting production to draw attention to them.

Where the record really excels is in its singles. Just Two Girls follows Bloom Baby Bloom in the tracklist and is one of the most lyrically detailed songs on the record. The song is a heartfelt ode to female friendship (completing a trilogy of songs including Bros and Beautifully Unconventional). It's lyrically dense and witty, yet subtly catchy with groovy piano riff and little variations on the vocal melody throughout the song. The album then closes out with the other two singles, White Horses and The Sofa. White Horses is a driving, jangly, somewhat folky indie rock tune that builds up in layers to a cacophony of sound. It is probably the closest to the band's typical walls of sound that The Clearing gets and is appreciated after and album that is generally pretty mellow throughout. The Sofa, on the other hand, is a rich, cinematic, string-laden ballad to close out the record and its themes. Ellie soulfully croons about finding peace in herself and accepting the duality of wanting to be the dramatic, sexy rock frontwoman that she has often portrayed herself as in the band's previous output; and to be the chill, laid-back 'clean girl' who just wants to 'lay on the sofa' and take life at a slower pace. All three of these songs are excellent and stand up with the rest of the band's catalogue.

Unfortunately The Clearing starts to falter in the deep cuts, that are all concentrated in the middle of the record. I like the subtle jangle of Leaning Against The Wall, and it's initial tale of running into an ex long after the breakup when all the pain has subsided. But the song very quickly hits a lyrical dead end as Ellie doesn't really go much further into the encounter beyond a few cliché remarks, and the song also barely has a chorus. It definitely feels like the song needed more time in the oven. Similarly, Play It Out has some interesting ideas around aging and motherhood, but is wrapped up in a slow piano ballad where the instrumental is frankly quite plain and boring. Passenger Seat is a pretty perfunctory soft rock tune. It's perfectly fine while it's on, but there are a thousand songs that sound exactly like it and explore similar themes of escape and 'running away with the person you love'. I have similar feelings about Safe In the World, which for me is the most unremarkable song in the tracklist. Bread Butter Tea Sugar is another song that has elements I really like (the more dramatic, glam rock aesthetic and more commanding vocals from Ellie), but once again feels kind of kneecapped by the production. The groove feels very stiff and rigid, and lacks the swagger and arrogance that this kind of glam rock song needs. The only deep cut that I think hits the mark in all elements is the dreamy, layered up chamber folk track, Midnight Song. It's the kind of song that the band has pulled off before so it is right in their wheelhouse. It is also one of the few moments where the warmth and texture of the record shines through the production; and Ellie's vocals remind me of the likes of Nico, adding to the throwback vibe.

There is some great stuff on The Clearing, and some tunes that are going to be Wolf Alice Staples in years to come. But it is weirdly inconsistent for a band that has never been inconsistent, even back to their earliest EPs. That combined with just the wrong choice in producer, results in an album that while has its moments, doesn't come together to anything particularly impactful. I don't see myself in a couple of years regularly putting this on like I do with the rest of the discography, and I'll probably only listen to it in future when I'm just having a Wolf Alice binge and listening through the whole discography. It's a bit of a shame, but I think it's just a misfire and the band will probably go and do something completely different again for album 5.

Top Tracks: Bloom Baby Bloom, Just Two Girls, Midnight Song, White Horses, The Sofa

6/10

Lorde - "Virgin" (2025)

Lorde's first two records really set the stage for the alt pop explosion of the late 2010s and early 2020s, with their stark and nocturnal synth pop instrumentation and Lorde's very raw and introspective lyrical content. While I personally am fairly ambivalent on the debut, I think Melodrama is a fantastic record that has really aged well. Lorde decided then to completely pivot her sound on 2021's Solar Power, to this throwback early 00s 'beachy' folk pop style with a hint of 90's alt dance / Madchester influence thrown in as well. I get what the record was trying to do, essentially being the antidote to Melodrama. Melodrama was, as the name suggests, about the Melodrama of experiencing your late teenage years and early twenties while being thrust into the limelight; whereas Solar Power was all about healing from that. However, it didn't sound summery and 'beachy' and relaxing; it sounded washed out, drab and lifeless. I hadn't re-listened to it since its release until I was going through Lorde's entire discography when Virgin was released a couple of month back; and I found it just as boring and aimless as I did in 2021.

The record was critically panned and didn't really connect with the fanbase as well, which left me wondering where Lorde would go next. Four years later, the release of Virgin's lead single What Was That gave us an answer. She's playing it safe and going back to the sounds and ideas that everyone loved on Melodrama. I'm being flippant saying What Was That is just Melodrama again, as it's more like Melodrama but more. The synths and grizzled and blaring, and the lyrics (once again revolving around that early 20s party lifestyle) are more blatant and explicit. It's not a particularly bad song, but as Lorde's big comeback it feels particularly underwhelming.

Virgin as a whole feels like Lorde trying to make Melodrama again but at the age she is now. Musically, some tracks follow on from What Was That, being a slightly edgier and more experimental interpretation of the alt pop style she perfected on Melodrama. Whereas others go for a more reserved and 'mature' take on that sound. Lyrically, she is framing the chaos and internal turbulence that characterises her 2010s work through the lens of things that you only really start thinking about as you approach your mid-to-late twenties. On the record, Lorde explores her gender identity, her relationship with her parents and the power dynamics within previous relationships - topics that don't get more than a passing thought in a nightclub at 19.

The other two singles fair a little better than What Was That. Man Of The Year is a slow-burning ballad that slowly fills out with clattering percussion that by the end of the track completely overwhelms the mix. The lyrics detailing how Lorde feels like she just doesn't fit into gender norms are also more engaging than the rehashed hot-mess party girl themes of What Was That. The opener, Hammer, also explores these themes and is definitely my favourite on the record. The warbling electronics and rising synth lines all build to a climax that recalls the cathartic release that Lorde does so well on songs like Green Light and Ribs. Favourite Daughter is also an album highlight for me, with a danceable groove and a memorable hook. Again it explores an interesting topic, as Lorde delves into her relationship with her mother and her desire to please her and how she never felt good enough.

Unfortunately, as the middle of the album approaches, it kind of just drops off the map. The tracks meander about with little in the way of a memorable hook or interesting instrumental. The synths feel very muted and turned down, and Lorde really struggles to command much presence with her vocals. The whole stretch of the record from Current Affairs to GRWM feels so drab and greyscale. The record does pick up a bit towards the end, with some more uptempo tunes that have a bit more of a danceable beat. You definitely can hear the influence of BRAT on these songs (Lorde has been pretty vocal about how working with Charli XCX on the Girl, So Confusing remix helped her escape from a years long creative flunk). However, these songs are still dressed up in the very moody and muted pallet of the rest of the record, so go nowhere near as hard and are not as nearly impactful as I would like them to be.

The album does close on a high point, the very raw and uncompromising Ballad, David. The song is framed as a takedown of a previous lover who abused a position of power; however has a subtext that this 'lover' is not necessarily a person, but a reflection of Lorde's relationship with herself, the industry and her fans. Lorde's vocals take centre stage, and the washed out, muted synths take a backseat which makes it one of the most impactful songs on the record.

Virgin has some interesting ideas, but they don't really come together into a cohesive whole. And coupled with some weak hooks and a drab and lifeless instrumental palette, it makes it a bit of a slog of a listen. It's definitely better than Solar Power, but I think its rather forgettable when put next to her first two albums or the slew of great girl-pop we've had over the past couple of years.

Top Tracks: Hammer, Favourite Daughter, David

5/10