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

Wet Leg - "moisturizer" (2025)

Wet Leg felt like a a breath of fresh air in late 2021 when they broke onto the scene with the silly and irreverent Chaise Long. UK indie rock was very much in one of its worshipping the post-punk classics phases and as great as some of those bands are, the scene as a whole was seriously lacking a sense of fun. Chaise Long and by extension the band's debut record had it in droves, which is why I was really quite surprised by the lead single for their follow-up. Titled catch these fists, it is everything that the first album stood out from: bog standard angular post-punk guitar lines, a repetitive chorus and standoff-ish, riot girl-lite lyrics about annoying men in nightclubs. It felt very run of the mill and unoriginal, and doesn't play into the bands appeal in the slightest. The second single, CPR, is an improvement on catch these fists. The lyrics about crushing on someone so hard that you need CPR is much more fun than 'men suck' and Rhian Teasdale puts on some fun vocal inflections throughout the track. However it still sticks with the more aggressive post-punk instrumentation which I just don't think fits the band's writing style and overall vibe.

Luckily, when diving into the album as a whole, some of the deeper cuts do retain the sense of silliness and whimsy that made the debut so great. The third single, davina mccall, is a dreamy lovesong with some goofy pop-culture references (the title and opening line is a reference to Davina McCall's catchphrase on Big Brother from 20 years ago now). jennifer's body is obviously a reference to the film and has a driving rhythm section that propulses the song forward. pokemon, similarly, is a slinky and groovy synth driven cut that has some really cute lovestruck lyrics about escape and running away with your love. The best of the bunch is by far mangetout, and is the only track that captures the pure catchiness and simplicity of the debut. The snarky hook of "get lost forever" and jokes about magic beans feels like a much more 'Wet Leg' approach to annoying advances from men than the kind of sour and bitter vibe of catch these fists.

There are also two songs on the back end that I find quite interesting, don't speak and the closer, u and me at home. They go for that woozey, shoegaze-y guitar tone that's reminiscent of my bloody valentine. Combining that with poppy hooks and vocals that are actually intelligible, it feels like an alternate universe where mbv were actually interested in making indie pop songs. I wouldn't say they're the best of the bunch on the record as they are definitely carried by their vibe rather than the tunes at the core of them - but they're certainly an interesting diversion.

Unfortunately the record really struggles with consistency. pillow talk is another heavy track for the band, and while it is more interesting than the singles; at less than 3 minutes it feels like a non-committal half step into hard rock that ends before it can progress into anything more than just heavy riffs and aggressive vocals. pond song and 11:21 are unremarkable, meandering, slower paced tracks that go nowhere and don't have memorable hooks.

I feel like moisturizer fits the cliche of 'difficult second album' pretty well. You can tell the band are trying to shake off the accusations of industry plants and being a gimmick band by deliberately avoiding making the same album again and trying on new sonic (and visual) pallets. However, I can't help but feel like a lot of the personality that made them unique has been lost in the transition. There's some good songs on here but it doesn't come together to form much of a whole.

Top Tracks: davina mccall, jenifer's body, mangetout, pokemon

6/10

Little Simz - "Lotus" (2025)

Simz' rise to one of the UK's biggest rappers is one of the most inspiring success stories for independent artists (and just life in general) as she is one of the few I can think of that has done it pretty much entirely on her own. Performing in a prime Glastonbury slot just under the headliner (Coldplay) in 2024 is pretty insane for an artist that has never signed to a major label. Simz' career really began to take off following 2019's GREY Area, where she hooked up with producer and childhood friend Inflo. The two had an amazing creative chemistry that resulted in three excellent records that were layered in rich and dramatic funk, soul and orchestral instrumentation that matched Simz' intensely personal and heavy lyrics and themes.

During the rollout of the Lotus' singles, it hit the press that Simz' was suing Inflo following an unpaid loan she gave him during 2024 to help fund the first (and at the time only) live show for his project SAULT (which Simz was a frequent collaborator); which left her unable to complete her tax return for last year. With this news coming out, it was evident that Inflo would not be producing this new record and furthermore Cleo Sol, who is married to Inflo and provided vocals to many of Simz' tracks including her biggest hits, would not be featuring. So this is a massive shake up for Simz, creating a record for the first time in a long time without two of her closest collaborators (and friends).

Miles Clinton James has been picked by Simz for production duties this time around, and looking into his work he did some additional production on 2021's Sometimes I Might Be Introvert as well as some credits with Micheal Kiwanuka and on Foal's last album. This sets the record apart from the Inflo trilogy, as while it is still sounds distinctively Simz, a lot of the extravagant orchestral instrumentation has been replaced with a grittier, darker sound reminiscent of UK post-punk. This pretty aptly compliments the main lyrical themes of the record, the majority of which is pretty explicitly about Inflo and the breakdown of their relationship.

The opening track, Theif, comes in with a rumbling bassline and eerie twangs of guitar before Simz' effects-laden vocals swoop in like a phantom from above. The multi-tracked and echo-y hook of "You're a theif!" definitely gives off the intention of Simz presenting herself as a spectre haunting Inflo's conscience. This leads straight into the lead single, Flood, which features some intense tribal drumming and mantra-like lyrics where Simz recites to her self her methods of how she's going to get through this traumatic time and how she's not going to let this happen again. Obongjayar and Moonchild Sanelly are featured on the chorus and absolutely kill it.

The other two songs released as singles are Young and Free. Young is a very interesting and unique song for Simz, being a kind of Britpop-y, post-punk-y, pop rap tune with its Kinks-ian baseline and faux-posh accent that Simz is putting on. The song is clearly a piss-take of something, but I haven't quite figured out what. I like the song, but it does feel very out of place on an album that's otherwise so serious. Free is a neo-soul jam about being kind-hearted and taking life at your own pace; and is a style of song that Simz can write in her sleep to be honest. It's a good song, but does it really do anything to stand out from the several similar songs in Simz' back catalogue? Not really. I feel like Only, which sits inbetween the two tracks on the record, is a more interesting exploration of that style. Jungle's Lydia Kitto takes on the chorus vocals and does a great job. The sauntering, jazzy beat and self assured lyrics about slowly falling in love with no hang-ups or need to rush just oozes cool.

The first half closes out with Peace and Hollow. For me Peace is the weakest song on the record and probably the only one where it feels like Inflo's presence is noticeably missing. The instrumental feels pretty undercooked with a repetitive guitar line that doesn't change or progress throughout the four and half minute runtime, and Mira May's hook of "I need to find some peace of mind" remains identical from the first chorus to the last. Hollow on the other hand, is captivating in it's starkness and simplicity. Simz' spoken word vocals are set against a string quartet and it's the first point in the record where she really starts to dig into the breakdown in her and Inflo's relationship. After a first half that somewhat struggled to find its groove, it really sets the record up for a frankly phenomenal second half.

And that second half opens up with a bang that is the Obongjayar assisted afro-beat jam, Lion. The song just makes you want to move. The chanted outro "We don't care for what they say, that's my superpower" is just so self affirming and uplifting. This leads straight into Enough, which is basically a dance punk song has similar themes about being enough for yourself and knowing that you can succeed. This whole stretch of the record gives off massive main character energy but it just works - I guarantee you that these songs will make you feel good.

Following on from this brief respite, the album takes a turn into some really dark territory in the final four tracks. Blood is essentially an argument between siblings put to music. Wretch 32 plays the role of Simz' brother in a fictional scenario where both siblings have become successful rappers, but the distance and success has only heightened the unresolved trauma in the family. The song is insanely written and delicately balances being hard-hitting and shocking while still being an enjoyable listen. The title track is definitely the elaborate focal point of the album, being a six and half minute, multi part behemoth of a song that sees Simz go to her darkest place and then back out again. The second verse is a long, spiralling rant about the expectations she feels as a public figure and the pressure to be perfect and a 'prodigy'. The track reaches rock bottom, before church bells and choral backing vocals seep into the mix and Simz drags herself out of the depths to begin rebuilding. Micheal Kiwanika provides a cathartic respite on the choruses to prevent the song feeling too nihilistic.

The final two songs are very lowkey, as if Simz has exhausted herself out with the intensity of Lotus, and is now faced with the reality that she has to confront. Lonely is about exactly that, that Simz feels lonley and isolated; and not sure how to proceed with her music career without her key collaborators. It is very raw, and without a lot of the instrumental flourishes that the rest of the album has, which allows for every word to sink in. Blue closes the record out as a very gentle tune that ties up the records themes well. Sampha's soothing vocals provide a sense of relief, as if the pain is coming to the end and Simz is slowly moving forward.

Lotus is a really great record, and proves her talent can withstand even the most traumatic of shake-ups in the artistic process. It's a shame that the first half is just a little bit wobbly (not even inconsistent, just the flow isn't quite there), because the back end is just as good as GREY Area and SIMBI. It's very rare for an artist to go an 4 album streak of work of this level of quality, and it doesn't seem like that streak is going to end anytime soon.

Top Tracks: Theif, Flood, Only, Hollow, Lion, Enough, Blood, Lotus, Lonely, Blue

9/10

Loyle Carner - "hopefully !" (2025)

Loyle Carner's third record, 2022's Hugo, stuck with me a lot more than I thought it was going to. That album pushed Loyle into a more upfront and commanding space, with more intense instrumentals and tighter, more focused writing and theming. It makes sense, with the album focusing on the meaty topics of Loyle's mixed race heritage and Absent father. Hopefully ! flips the coin right over, mainly revolving around Loyle becoming a father, and the struggles and upsides that parenthood brings. As such, this is Carner's most settled and content release so far, and sonically the most low-key his music has ever been.

I enjoyed the singles as they rolled out, and left me intrigued as to the direction as a whole. They were all very low-key, somewhat trip hop inflected tunes with a moody and smoky atmosphere. It left me wondering whether there was going to be anything even akin to the loose and jazzy highlights of the first two records, let alone the bombastic soul-inspired instrumentals of Hugo. Lead single all i need is about uptempo as it gets, with it's scratchy breakbeat, and multitracked and reverb laden synths and vocals. in my mind, which was released as the b-side and precedes all i need on the album, is a much more dreamy and hypnotic track fitting for a song about being stuck in your own head. The other singles continue down this path. The closer, about time similarly features a very gentle hi-hat rhythm, subtle twinkling keys and reverb heavy acoustic guitar. It's one of the more lyrically upfront tracks on the record, with Loyle detailing the lessons he's learned balancing a music career and fatherhood and how he's going to pass that on to his children. It's a very wholesome way to end the record.

The rest of the record follows in this suit. The gentle, formless, somewhat ambient intro to the opener feel like home teases in the record before a skittering beat pulls the song (and thus the album) into life. However it feels like its over before it really gets going. Similarly, strangers and don't fix it don't really come together into anything much of anything. horcrux brings back some of the jazz rap vibes with it's syncopated drum beat and loose piano chords. The tempo and intensity of the song slowly progresses into one of the more attention grabbing songs on the record. The very raw and intimate neo-soul vibes of purpose give of massive To Pimp a Butterfly vibes, which I will always be a massive sucker for - and so is an album highlight for me

I think hopefully !'s biggest problem is that that while all these songs are perfectly up to Loyle's usual standard when taken individually, they don't really come together into anything more impactful or notable. I have been listening back through the rest of Loyle's discography while writing this and as chill as they can be, they just had a bit more oomph and drive to them. hopefully ! feels a bit indulgent in that regard, and reminds me a bit of the rough around the edges releases that many artists released around lockdown that lacked the polish or fanfare of a major new LP. It is still perfectly enjoyable while it is on, and much like the rest of his records, works perfectly as late night wind-down music to chill out to. Check it out if you're a fan of Loyle or chill hip hop in general, but don't expect it to move the needle either way.

Top Tracks: in my mind, all i need, horcrux, purpose, about time

6/10

Elbow - "AUDIO VERTIGO ECHO elbow EP5" (2025)

Loads of great music has come out this past month, so lets kick things off with a quick one. Elbow have released this little companion EP to last years AUDIO VERTIGO record, with the frankly quite stupid full title of AUDIO VERTIGO ECHO elbow EP5". Not sure the band's name and that it is their 5th EP was strictly necessary but I guess that's what they've decided for some aesthetic reason. Anyway, written in some spare studio time after the AUDIO VERTIGO tour last year, the EP is very much a continuation of the album's musical ideas. The songs are quite high tempo and with a greater focus on groove and rhythm than a lot of the band's back catalogue.

The ECHO EP takes this one step further with borderline dance-rock grooves and a very bright, sunny atmosphere. Opener Dis-Graceland 463-465 Bury New Road matches a chunky, steady groove with prog-rocky synth sections and filtered, distorted vocals from Guy Garvey. The closer, Sober, takes heavy influence from Talking Heads with it's dance rock beat, chanted choral backing vocals and bizarre lyrics about "Where has all the money gone?". All very David Byrne. Timber is a slower track with a moody, creeping groove and eerie lyrics. The distant, twangy guitars and hazy synths add a lot of atmosphere to the track. The only moment I'm not as keen on is the single, Adriana Again. It is a quite rough and ready garage rock tune. It's far from bad, but feels quite basic by Elbow standards. The riff is simple and the melody gets quite repetitive by the end of the song.

The ECHO EP feels like a great continuation of what the band was doing on AUDIO VERTIGO without some of the awkward aesthetic choices that hindered a couple of the tracks on the album. These songs feel built from the ground up to be chunkier and groovier while still retaining the bands proggier instincts.

Top Tracks: Dis-Graceland 463-465 Bury New Road, Timber, Sober

8/10

Sam Fender - "People Watching" (2025)

Sam Fender has grown into probably the biggest contemporary UK rock act since Arctic Monkeys released AM over a decade ago, and its not hard to see why. His earnest, everyman persona and relatable anthemic singles about the struggles of everyday life in the working class make him a shoe-in for widespread appeal. And sprinkle in his fantastic live show just to make sure. He has also grown significantly as an artist over these years. His debut, Hypersonic Missiles, was a fine album with some good moments; and the follow-up, Seventeen Going Under, was a good album with some truly excellent moments. However, I didn't really expect him to grow any more as my two biggest issues with Seventeen Going Under felt so intrinsic to Sam's identity as a person and artist. Them being 1) that his heartland rock / Springsteen worship aesthetic began to run a bit thin by the end of the record and 2) his political writing while well intentioned was always pretty unfocused and surface level. Sam's strengths clearly lie in the stories about his own life and experiences not in political sloganeering.

So it's great to say that Sam has proved me wrong and People Watching is an improvement on Seventeen Going Under in pretty much every way. It's tighter, more varied, with more consistent writing and more dynamic production. Sam has brought on indie rock super-producer Marcus Dravs and The War On Drugs' frontman Adam Granduciel as co-producers which elevates the feel and atmosphere of these tracks. The bombastic, anthemic cuts just pop that bit more and the slower moments have way more space and atmosphere to them. The production on his past releases was always fine, but it is night and day going back to them now. People Watching makes them feel so plain and perfunctory. Similarly the tracklist feels more varied, with Sam leaning into a bit of Britpop on Chin Up (this song sounds so Oasis), jangly indie rock on Rein Me In and looser more Americana stylings on the singles Wild Long Lie and Arm's Length. Surprisingly, there isn't a single traditional piano balled on here, considering there was like 4 on SGU. This results in a record that feels much tighter than SGU, despite being a little bit longer (at least compared to the standard edition).

Lyrically, Sam is also playing to his strengths way more. He primarily focuses on telling the stories of his own experiences and those closest to him; however when he does go for more broader societal / political topics, the writing does more focused and purposeful. The opening title track is a huge, bombastic sing-along anthem; but has a tender story within its verses about the passing of Sam's friend and mentor, Coronation Street actress Annie Orwin, and her heart-breaking final days within a rundown and underfunded care home. Crumbing Empire is the most overtly political song on the record; and where a younger Sam would rattle out fairly meaningless sloganeering and surface level commentary; this song is a really measured and thoughtful examination of the scars that the legacy of Thatcherism and Austerity has left on the North East with genuine examples of the impacts on working class people (his parents included). Little Bit Closer is a competent critique of the moral perfectionism that is applied to religion within the context of the working classes and TV Dinner is a scathing rager where Sam lashes back at a music industry that chews up and spits out working class musicians and exploits them for their 'credibility'. 

Two songs that I would like to touch on in greater detail is Rein Me In and the closer, Remember My Name. Rein Me In is just one of those songs that is like crack to my ears; the jangly guitar riff and the bittersweet and yearning lyrics just do it for me. Sam has just released a duet version with Olivia Dean which only elevates the song further. I wouldn't be surprised if it ends up being my most listened to song on my Spotify Wrapped at the end of the year to be honest. Remember My Name is a heartfelt ode to Sam's grandparents and his childhood memories of them set against a stark brass band arrangement recorded by Easington Colliery Brass Band. It is hard not to feel it pull at your heartstrings (especially seeing it live with the Easington Band where Sam is barely getting through the song himself without crying) and a perfect closer for the record.

People Watching is an interesting development from Seventeen Going Under, as each element when taken on its own is only really a subtle improvement when compared to the last record. But the fact that this improvement has been applied across the board makes it a much more enjoyable experience overall. Considering the pretty steady upward trajectory across his 3 albums, I'm very much looking forward to where he goes next.

Top Tracks: People Watching, Nostalgia's Lie, Wild Long Lie, Arm's Length, Crumbling Empire, Rein Me In, TV Dinner, Remember My Name

8/10

Black Country, New Road - "Forever Howlong" (2025)

Forever Howlong is the third studio LP from the now critical darlings Black Country, New Road. And it has been hotly anticipated following the release of their truly sublime second record, 2022's Ants From Up There, which has grown into mine and many other's favourite record of the 2020s so far. It is such an unashamedly raw and heart-breaking look into the psyche of frontman Isaac Wood. The man was clearly heavily struggling during the creation of the record: and as has become part of the albums 'mythos' at this point, left the band just days before the albums release due to protect his mental health.

This left the band in a difficult spot, having lost their vocalist and one of the biggest driving forces behind the bands direction - and a tour booked that they did not want to cancel. They quickly wrote a bunch of songs to fill the set with, resulting in the release of the Live at Bush Hall live record. While honestly still a really great record, it certainly felt like a transitional moment for the group. While it retained some of the moodier post-rock and experimental rock stylings, it was nowhere near has dark and harrowing as the band's output with Isaac. Instead the band further delved into the chamber pop instrumentation that AFUT toyed with, and included more influence from 60's prog rock and folk music. Similarly, to ease the pressure of any one member being the primary vocalist, three members came forward to share vocal duties: bassist Tyler Hyde, keyboardist May Kershaw, and saxophonist Lewis Evans. And now with the release of Forever Howlong, the live album very much feels like a mid-point between the old and the new.

Forever Howlong pretty much does away with any of the remaining edge that was retained in Live at Bush Hall, basically being a full on baroque pop and progressive folk record. There is barely any electric guitar on the record. Evans has also has stepped away from vocal duties, having decided that its just not something he enjoys. In his place, Georgia Ellery (the group's violinist) has filled the third slot. This makes the most sense to be honest, as Georgia also fronts the art pop duo Jockstrap and is probably the most suited to the limelight in the band. The opening cut and lead single, Besties, exemplifies the records ethos compared to the band's past output. It is a lush, twee, somewhat Beatles-y baroque pop ode to friendship. It is very straight up and earnest, with none of the deflective references or tortured lyrism of before. All in all, it is a very cute tune and sets out the albums vibe and atmosphere very well.

Ellery takes the lead on two other tracks; Two Horses at the mid-point of the record, and the closer Goodbye (Don't Tell Me). These are two of my favourites on the record as Georgia has very confident vocal presence and the tracks as a whole are two of the least understated songs on the album. They feel like tentpole moments with their placement at the middle and end of the record. Two Horses is a galloping, multi-phased prog-folk tune that is initially quite stripped back and moody. The instrumentation slowly builds up, through the woodwind, mandolin and strings. Half way through, the percussion kicks in and the pace picks up. The plucked guitar style gives off a very Nick Drake feel to me. The track then gallops over itself into a sinister sounding climax as the protagonist of the song is betrayed and her titular horses are killed by her former love interest. It is a fantastical and theatrical song that really doesn't get old for me. Goodbye (Don't Tell Me) is probably the closest to an indie rock song, with its gentle acoustic strumming, whooshes of reverby electric guitar and quite a catchy hook. It nicely rounds off the themes of friendship that run through Georgia's tracks; and to bring back The Beatles comparison, it has that kind of full-circle feeling that Stg. Peppers has.

Kershaw also takes three songs, and much like Live From Bush Hall, they are most whimsical on the record. The Big Spin makes reference to fruit and vegetables and baking in a very retro, 'cottage-core' way; however has this subtext of letting go and cutting someone off in a way that seems like quite a traumatic experience. The title track also has this very whimsical presentation of mundanity of daily life, with lyrics about the waves of tiktok wellbeing videos and daylight lamps used for seasonal depression. Both tracks are understatedly really quite sad, but in a hazy, malaise-like way. This is is further enhanced by the very stripped back and spacious instrumentation on Forever Howlong, which is mainly focused around the woodwind section, with a handful of flourishes from the other instruments. For the Cold Country is certainly the most dramatic sounding of May's songs, and follows on from the fantastical story telling on Two Horses. It reads as a tragic lovestory between a knight and a maiden where he goes off to fight for glory and ultimately meets his downfall. The song develops from something very stark and simple into an elaborate, crashing crescendo that is one of the few moments on the record that sounds akin to AFUT.

As I expected from Live From Bush Hall, Hyde takes the most leads on the record; with those songs being the more moody and sombre tracks on the album. Socks initially meanders around spacious instrumentation, but at the 2 minute mark the percussion kicks in and all the other instruments slot into groove for the chorus. It all drops out again for the second verse before settling into a very 60's vintage pop sounding bridge and outro. Salem Sisters is also quite dynamic, but at just over 3 minutes it does feel like the track is doing a bit too much in not enough time. It features some great backing vocals from May and Georgia. Mary similarly acts as a bit of a reset in the middle of the album after the drama of Two Horses, and is a fine enough song but not a massive highlight of the album for me.

Tyler's two most significant songs on the record are her two on the back end, Happy Birthday and Nancy Tries to Take the Night. Happy Birthday is easily the rockiest song on the record, with some crunchy electric guitars popping into the mix. The themes around inherent sadness in people who, on the surface, appear to have everything they need is also quite poignant and well written. It has one of the punchiest hooks and radio-friendly climaxes of the record - probably why it was chosen as the second single. Nancy Tries to Take the Night is a multi-versed opus telling the tale of the fallout and stigma of an unexpected pregnancy. It is the kind of melodramatic showpiece that the band has steered away from since Isaac left; and while it doesn't have the wailing screams and cacophonies of sound of tracks like Sunglasses or Basketball Shoes, it certainly feels like one of the weightiest and commanding tracks on the record.

One thing I will say about record, and it is not necessarily a criticism, is that each song feels rather segmented from each other - leaving the arc and flow of the record as a whole quite flat. In some ways I quite like it, as it almost feels like the record is out of time and frozen in another place where the world doesn't move so quickly. But on the other hand, the sequencing of the record feels like it really doesn't matter, and most of these tracks could be placed anywhere else on the record (the fact that there is a collectors edition out there with different sequencing further highlights this).

I'm glad I've let Forever Howlong sit with me for a little bit, because it is a slow burner. But the longer I let it seep in, the more I like it. It's imaginative and unique, and takes me out of the grim realities of the modern world with these whimsical and fantastic stories. But they are all layered with a very real and meaningful subtext, making them very multifaceted. It doesn't feel quite as focused or cohesive as the groups first two record; but on a track by track level it is as good as the debut for sure.

Top Tracks: Besties, The Big Spin, Socks, Two Horses, Happy Birthday, For the Cold Country, Nancy Tries to Take the Night, Forever Howlong, Goodbye (Don't Tell Me)

8/10

Lucy Dacus - "Forever Is A Feeling" (2025)

Lucy Dacus is the first to return with fresh solo music following Boygenius' debut in 2023 significantly rocketed the singer / songwriter trio's exposure (comprised of Dacus, alongside Phoebe Bridgers and Julien Baker). I was already a fan of Bridgers, but following the Boygenius record I delved deeper into Dacus and Baker's solo work and I really took a liking to Lucy's raw and earnest lyrical style and very straightforward, vintage combination of singer / songwriter, indie rock and folk. While really emotionally resonant in places, her music is not flashy or particularly in your face, leaving it sounding quite versatile and timeless for me.

With Forever Is A Feeling, Lucy doubles down on this very lowkey, stripped back approach; swapping out the slightly more harder edged, fuzzy blues rock elements of her sound for gentle acoustic guitars and delicate chamber pop instrumentation. This is all to service the records narrative, which is very obviously about Dacus' blossoming romance with Baker following the closing out of the Boygenius era. The lyrics are sweet and saccharine, filled with the tepid excitement and hope alongside the worries and risk of falling for a friend. Following a short string prelude, the opening cut Big Deal tells the story of the growing feelings between the two, and that how Lucy was not prepared to take that risk and was surprised that Julien was. Set against gentle strumming and swooning strings, the song is beautifully bittersweet and really acts as the tone setter for the record.

The following track and lead single, Ankles, dives headfirst into euphoric jangle pop as Lucy indulges in fantasising about the exciting possibilities and potential futures this new relationship presents. The other teaser track, Best Guess, is similarly sweet and summery although takes a more grounded and pragmatic approach to the new relationship. Dacus frames the idea of romance as a best guess and that you never know if it will work out in the long run. It is an interesting idea for a song that is still incredibly positive and forward looking. Limerence was released as the B-side to Ankles and has a very different vibe. It's a slow and sparse, piano driven break up ballad. I'm not sure how it fits into the records narrative; whether this break up occurred immediately before Lucy's new relationship to Julien or sometime before. But lyrically, it is so dry and funny as Lucy describes falling out of limerence with this person while watching her friends chat and play video games. It's so nonchalant while also being quite heart aching, really. Lucy doesn't want to hurt this person, but she just doesn't love them anymore.

While it starts and ends quite well, the record's breezy and listless atmosphere unfortunately floats off into the clouds during the middle section. The subtle vocal approach and twee instrumentation sands off pretty much any tension or drive behind the tracks. Talk is on paper the heaviest track on the record, and while it does feature a couple of great lines, it is one of the most tepid interpretations of 90s alt rock I have heard in a long time. And its not like Lucy is out of her ball park here, there are plenty of tracks from her past couple of albums that go for this style and have way more bite to them. For Keeps through to Come Out just breeze by leaving little impact, and its only when Best Guess kicks off the final third of the album that I come back round to being engaged.

Bullseye is a jangly folky ballad with Hozier that I think works out. Hozier tends to dominate his duets, and with how tame the instrumentation is here that could've been the case on this one also; but he remains restrained and overall I think the song works out quite well. Most Wanted Man, similarly is a duet with Baker. The track initially presents itself as a twangy vintage rocker reminiscent of Revolver era Beatles, but as it progresses it morphs into more of a slacker rock jam with it's loose lo-fi guitar riffs and hazy vocals. You can really feel the energy and chemistry between the two on the song. Lost Time is an earnest and heartfelt slowburn to close out the album. The song starts as a gentle acoustic ballad, but slowly builds into a thick and heavy climax that once again brings back Julien for backing vocals.

Much like Lucy's previous records, Forever Is A Feeling doesn't rewrite the indie playbook - but is a solid, well written album that is a good time from start to finish. It does feel a little lightweight in places, so I don't think it tops Historian as her best. I still like it quite a bit and I think its a great record to have in rotation for the chill summer evenings or slow weekend mornings this year.

Top Tracks: Big Deal, Ankles, Limerence, Modigliani, Best Guess, Most Wanted Man

7/10

Squid - "Cowards" (2025)

 

Squid are back with their 3rd LP, Cowards. Following on from their excellent 2023 record, O Monolith, Cowards delves deeper into the band's more experimental and post-rock tendencies. The whole album revolves around the central theme of evil, and while Olly Judge's lyrics and vocal approach regularly dipped into manic and unhinged territory on their past material, the themes and narratives of these songs are way more upfront and explicit.

The opening cut Crispy Skin, for example, is quite obviously from the perspective of a cannibal who is having a moral crisis over their actions, flitting between questioning their decisions and a sort of psychosis where their brain is trying to force them to forget that they actually have done that. Musically, it feels like a bridge between the more wiry post-punk grooves of the debut (Bright Green Field) and the linear Krautrockian song progressions from O Monolith. Blood on the Boulders is this creeping post-rock slow burn and is much more stark and simple than anything Squid usually creates. The track has a hot desert-ish atmosphere that compliments the cultish lyrics detailing a murder under the California sun and the obsessiveness of true crime fanatics wanting to know every last detail. The track slowly unravels from this slow and plodding pace into a typical noisy Squid climax, with the contrast really paying off. Fieldworks II similarly has the atmosphere of a slasher flick, referencing broken bones and wiping blood from ones face against a backdrop of chiming guitars and cinematic strings. The closing line "I don't look in the lake." is particularly chilling.

The other tracks in the first leg of the record aren't quite as interesting, which leaves it feeling a little lopsided. Building 650 is essentially a musical retelling of the Japanese crime novel In the Miso Soup, which is about a serial killer, with none of the deeper commentary or weirdness that other moments on the record have. The track is also musically the most bog-standard Squid. It's not bad (there are definitely songs off BGF that are weaker), but it lacks the unique bells and whistles that most Squid songs have. Fieldworks I acts more as an interlude at the mid-point of the record than as a lead into Fieldworks II but also doesn't really stand on its own, so does just feel a bit odd and unfinished.

The second half of the record is where it really gets into its groove, starting with Cro-Magnon Man. Similarly to Building 650, it's stylistically quite classic Squid, but the weird as hell lyrics about the odd-ball, vintage horror film-esque titular character and frenetic keyboards really draw me in. The title track is a slow jazzy post-rock piece that reminds me of a cross between Kid A era Radiohead and the quieter moments on Black Country, New Road's debut. Showtime! really is the albums piece de resistance, going through multiple phases - starting as a erratic, scratchy post-punk track before moving into an expansive space rock section that then settles into a driving krautrock finale. The closer, Well Met (Fingers Through The Fence) is drawn out and patient, building up the tension through its claustrophobic first half which is then let out in the spacious and ascending second half.

Cowards is another good (and sometimes great) album from Squid. It's not quite as consistent as O Monolith and I think I prefer the quite alien and otherworldly atmosphere of that record to the more gritty and down to earth approach taken to the songwriting here. It's still very inventive and engaging and well worth checking out if you like this kind of neurotic experimental rock.

Top Tracks: Crispy Skin, Blood on the Boulders, Fieldworks II, Cro-Magnon Man, Showtime!, Well Met (Fingers Through The Fence)

7/10