Big Thief - "Double Infinity" (2025)

 

Next up on the Primavera docket is Double Infinity, the 2025 album from indie folk outfit, Big Thief. I have been listening to a lot of artists on the line up who's names I know but have never listened to before and Big Thief has been one of the ones I have been gravitating towards for relistens. Apparently, their previous album to this, Dragon New Warm Mountain I Believe In You, is regarded as their best - but as an 80 minute double album I've been more inclined to put this one on as it fits in with when and how I listen to music these days.

Double Infinity is a laid back and hazy record, with the 9 tracks here layered in reverby, vaguely psychedelic production and Adrianne Lenker's twangy, mid-western vocals diving in and out of the mixes. The opener, Incomprehensible, tells the story of a car journey back from Lenker's grandmother's, where she's reminiscing about times past when she was younger and thinking about what is to come in her future. The layers of breezy guitar lines and twinkling chime bells really add to the nostalgic atmosphere. The loose, groovy drumming and jangly guitars of the following track Words give a very 90's indie / slacker rock vibe and they also similarly build to a noisy crescendo during the choruses. Much of the first half of the record leans into this soft, throwback folk and indie rock sound - perfect for a mid-afternoon slot at a festival. Los Angeles is more on the folk and americana side of things, with slow burning guitars and a chugging base line; and All Night All Day features congas as part of the percussion and pairs it with twinkly and reverby guitars.

The record really hits its stride at the mid-point, with the title track and No Fear. Double Infinity strips back a lot of the layers to let Adrianne's impassioned vocals shine through. The track returns to the themes of past and future, comparing them to two infinities - what was lost, and what is yet to come. The instrumentation slowly grows with intensity as the track progresses, making the song feel quite triumphant in a bittersweet kind of way. No Fear follows this by slowing the record right down and playing with the texture and timbre of the music over the course of the 7 minute tune. The song opens with a minute and a half intro with a repeated moody bass riff that really lets you sink into the atmosphere of the song. The track slowly introduces Adrianne's sultry vocals and noisy additional guitars that layer up as the song progresses. It is eery but very warm sounding song, like finding some tranquil haven in the depths of a dense forest.

Unfortunately past this point in the record, it somewhat loses my interest, as I feel like it's shown me all it has to offer and has nothing else up it's sleeve. Grandmother is another woozy indie folk jam that doesn't do all that much with it's 6 minute runtime even with the inclusion of ambient pioneer Laraaji on backing vocals. The jangle pop of Happy With You is definitely my kind of thing on paper, but the vocals on the song are incredibly repetitive. It's so overbearing that it must be the point, but it really doesn't work and makes the song a bit annoying to be honest. How Could I Have Known returns to a more stripped back folksy style to close the album out, and is certainly better than the last two tracks, but it doesn't really do enough to reengage me in the records final moments.

I'm glad I've given the time to Double Infinity, as there is stuff here that I do like that probably would've just breezed past if I hadn't given it multiple listens. But as whole record, it's a bit hit and miss and honestly a little too soft and dependant on it's laid back production for my taste. It can quite easily descend into background music if I'm not intentionally listening; which is probably why I've gravitated to it while I've been working, but struggling to really dig into the lyrics and themes when giving it my sole focus. I'm definitely going to check out Big Theif's set as I think it'll be a good time, but I'm not sure I'll put Double Infinity on again in full after I return home.

Top Tracks: Incomprehensible, Words, Double Infinity, No Fear

6/10

PinkPantheress - "Fancy That" (2025)

 

Continuing on with my journey through the Primavera line-up, I've chosen to keep with the y2k throwback theme with PinkPantheress' latest mixtape, Fancy That. PinkPantheress' rise has been pretty substantial over the years. I remember Pain blowing up on TikTok in the back end of the pandemic, then Boy's a Liar really broke her into the mainstream a couple of years ago, and now I'd say she's one of the biggest current gen UK popstars. I've heard plenty of her big songs on the internet and on the radio (and enjoyed them), yet this is my first time fully dicing into one of her projects.

For those who have (somehow) not heard a PinkPantheress song before, her bread and butter is self-produced, short and speedy fusions of early 2000's UK garage and dance pop. Her songs are snappy and run at a break-neck pace, jammed full of hooks with not a second wasted. This mixtape is 20 minutes long with nine tracks, without second of empty space or a moment to breath. The first half of the project in particular hits you with banger after banger. Illegal opens up the record with a bang, featuring a killer Underworld sample against a classic 2-step drumbeat and a damn catchy hook. "Is this illegal?, It Feels illegal" PinkPantheress asks on the topic of a naughty or forbidden romance. No wonder it blew up on TikTok. This then runs straight into the equally energetic Girl Like Me that flips Bassment Jaxx's Romeo into a garage jam. Tonight was the lead single for the record and features the most 'stuff' out of any of the songs here: a detailed narrative, layers of airy synths, a squelchy 808 bassline, several different melodic hooks. Pink's vocals are playful and fun. It seamlessly transitions into Stars, a track built around a brilliant sample of Just Jack's Starz in Their Eyes which is just pure childhood nostalgia for anyone around my age.

Unfortunately I do feel like the short track lengths and breakneck pace leave some of the tracks in the second half to feel a little less developed and densely packed as the front end of the project. Noises is over in a flash after not really doing much and Nice to Know You's cinematic strings voiced synths don't really do much for me, and the song lacks a punchy hook like many of the others here. Stateside has blown up as a big radio single thanks to the Zara Larsen featured remix, but I feel like structurally it is the most straightforward radio-friendly pop song here with less emphasis on the garage drumbeats and edgy synths. The Groove Armada sample is appreciated though. Romeo closes out the record with a bit more an upswing as it brings back the tension and dynamics of the earlier tracks.

There's some great stuff on Fancy That, but its over in a flash and so I find it hard to truly sink into the project. The combined with the somewhat weaker second half means I'm not sure I'd ever really come back to it in full, despite how much fun the highlights on the record are. I'm still definitely going to try to catch PinkPantheress at Primavera (clashes pending), as she has a full set's worth of bangers across her career now and her live show looks like it has a lot of energy.

Top Tracks: Illegal, Girl Like Me, Tonight, Stars

6/10

Oklou - "choke enough" (2025)

 

I'm heading to Primavera Sound in Barcelona this summer, and I thought it would be fun to go through the lineup and write about some of the artists as I give them a listen. Oklou is a French alt-pop / electro-pop artist. choke enough is her full length debut and made a lot of year end lists last year, and considering my enjoyment of the recent wave of girly synth-pop, I thought this was going to be my bag. However, it wasn't quite what I was expecting (based on my admittedly limited knowledge going in) and hasn't been something I have resonated with much at all.

Compared to the brash and personality driven pop records I've loved over the past couple of years, choke enough is more of an ambient pop and minimal electronic album. Not that that's a bad thing, but I clearly had my wires crossed when I heard 'y2k aesthetic' and expected something along the lines of a BRAT or Imaginal Disk. choke enough is nothing like these albums, the mixes are sparse and clean, and the melodies are restrained and just sort of breeze in and out of these tracks. The songs flow into each other in a way where if you're not paying much attention, you could easily miss that one has ended and a new one has started. At 13 tracks and 35 mins, the album progresses quickly, not really lingering on a single moment long enough to emphasise it.

I think that's why I'm not really clicking with the album, as it just breezes by, with the more pop-leaning tracks not really having enough personality to carry them; and the more ambient-leaning ones not really creating much of an interesting or enveloping sonic landscape. The core aesthetics of the album are fine enough, with the clean, airy synths and hazy, reverbed vocals and percussion. I can see why it got labelled with the y2k tag as it feels like a video game or sci-fi movie soundtrack from that era.

Out of the tracks here, the ones I enjoy the most are the ones that are more sparce and minimal, as they create more of a serene atmosphere that I'm liking more than the poppier, more synth driven cuts. thank you for recording makes good use of negative space to highlight the simple melody that sounds like its performed on a distorted, electronic flute or the like. obvious has subtle hints of horns that poke through the reverby synths. The title track is one of the stronger more poppy tracks, with a repeated melodic background vocals smothered in distortion and reverb. The thing is, while I like them while they're on, I'm not going to remember these tracks in the long run. I find by around the point of plague dogs in the second half, I'm pretty much done with the record's sound and style. It's pretty much played all its cards by that point, and they just don't do it for me.

I don't want to bash choke enough too much, as it's more of a case that this just wasn't for me rather than any issue with the actual quality or craftmanship here. Considering all the critical acclaim it has received, there's clearly a lot of fans out there for this. But yeah, it just doesn't do it for me.

Top Tracks: thank you for recording, obvious

5/10

The Last Dinner Party - "From The Pyre" (2025)

The Last Dinner Party really blew up in 2024 following the release of their debut album, a record that really liked and still do. I think it's a really fun and well written glam and pop rock record that I've regularly come back to since its release. I caught them live later that year, and they were already playing new material, so I am not surprised they have followed up with their sophomore quickly (although maybe a little surprised at how quickly, I think the lead single was released when the band was just about wrapping up their tour for the Prelude To Ecstasy).

That lead single is titled This is the Killer Speaking, and was one of the new songs played by the band when I saw them on tour. Musically and lyrically, it picks up right where Prelude To Ecstasy left off. It is a glammy and over-the-top pop rock banger telling the tale of a scorned lover out to get revenge on their ex. While the debut's lyrics were a bit more fiery and pointed, This Is The Killer Speaking leans more into the camp and it works. Not every song has to be pointed critique of patriarchal dynamics within society. The other song they played live was also one of the pre-release singles, being Second Best. The song is about exactly what it says on the tin, walking away from someone who treats you like you're second best. The track leans into the band's Sparks influence, having dramatic staccato vocal passages and a punchy rhythm section. The song just builds and builds into a frenzied climax and is easily my favourite song on the record.

The rest of From The Pyre really follows on from those songs, being just more of what made the first album great. On a musical level, the only really distinguishing feature is the switch from James Ford to Markus Dravs as producer, resulting in the strings taking a little more of a backseat on these tracks, replaced with punchier, more prominent guitars in the mix. Similarly, lyrically the band are playing around with a lot of the same ideas and themes as the debut, but in a less tight and cohesive way. All of the tracks on PTE reinforced one another in a way that I don't think they do as well here. The opener, Agnus Dei, revolves around desire and not feeling good enough for someone, comparing it to Catholic mass and the apocalypse. The song is good opener, with Abigail Morris' dynamic vocals and lush instrumentation; but if the song was packaged as part of a deluxe version of the debut I wouldn't have batted an eyelid.

Count The Ways feels a bit more distinct, featuring the more guitar heavy mixing I mentioned previously. Once again, the band are exploring themes of tortured love and wanting to stay with someone who is 'twisting the knife'. Rifle feels like a mid-2000s Muse track, with heavy use of loud-soft chorus-verse dynamics and pentatonic scales. The song explores the male desire for violence and killing; but unlike past songs where they've touched on these subjects, it's approached from a less feminine / romantic angle, but a more 'above it all' parental viewpoint. It's certainly an interesting perspective from the band; and I wish the song had bit more of a hook to go with it - because it isn't the most melodically developed song on the record and is sort of compensating with the brash guitars choral backing vocals.

Woman is a Tree kicks of the second half with a nice change of pace for the band, being a spooky, dramatic, folk tune. It sounds like some culty campfire tune - again with engaging themes around comparing womanhood to be a strong and stable tree that provides nourishment to those around it. I Hold Your Anger follows this up with a song that feels pretty run of the mill for the band at this point. The song is sung by the Keyboardist Aurora Nishevci rather than Abigail, which is the songs most unique element. Otherwise it's a fairly dramatic glam rock cut about a woman holding everything together in a relationship. Sail Away, similarly, is musically a pretty bog standard piano ballad that doesn't really grab me. I think the lyrics are pretty good, but they're wrapped up in an instrumental that I think is merely just fine.

The Scythe is the real showstopper of the second half. The song was originally written by Abigail years ago as a breakup song, but has morphed into a more general song about grief and loss overall. It is an absolutely massive sounding power-ballad with twinkling keys, a vintage 80's sounding drumbeat and layers upon layers of background strings and organs. Abigail wails the lyrics on the chorus "Don't cry, we're bound together / Each life runs its course" with so much passion and power it's hard not to feel some sort of emotive response to it. It's a shame that the closer, Inferno, follows this up with a bit of a dud. The song is a jangly indie rock song with subtle glam rock touches, but it really doesn't pay off the emotional weight of The Scythe and feels like a bit an unsatisfying way to end the record if I'm being honest.

From The Pyre is very much more of what worked on Prelude To Ecstasy. There are some genuinely great cuts on the album that are fine additions to the band's canon. However it does feel a little second album syndrome-y, with a couple of moments that feel like the band treading water and on the whole not feeling quite as tight and cohesive as the debut. I hope that with a couple of albums under their belt and being big names in British indie now, they can take just a little bit longer to craft album 3 into something with its own unique identity.

Top Tracks: Agnus Dei, Count The Ways, Second Best, This is the Killer Speaking, Woman is a Tree, The Scythe

7/10

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

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

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