Westside Cowboy - "It Goes On" (2026)

The latest breakthrough act from the now prolific Windmill Scene, Westside Cowboy, first came onto my radar earlier this year when they were catching buzz online for their electric performances while supporting Geese on their UK tour. At that time they had two rather good EPs to there name and had just announced a UK headline tour for later in the year (of which I will be going to this month), so it felt like they were building towards something big (potentially their debut album). That was indeed the case, with the first singles for It Goes On dropping at the start of the summer, and the full record arriving at the end. 

Compared to the increasingly intense and neurotic music coming out of the Windmill Scene in the 2020s, Westside Cowboy brings everything back to the basics; eschewing a lot of the post-punk and prog-rock influences for a simpler and looser indie rock style. Westside Cowboy still has some of those tendencies (particularly on the EPs), but on the whole they have a much more straightforward and commercially friendly sound. They also draw more from the American strains of indie rock than a lot of their UK counterparts, including the twangy guitars akin to slacker rock and the nasally mid-western styled vocals.

This is encapsulated by the opening track, Kick Stones (The Boys). The song is a fast-paced and rollicking indie rock jam with a catchy, chant-a-long hook shared by by the group. The track slowly builds up in energy and intensity until it reaches its climax in the last chorus. The track is just straight up indie rock fun and I was addicted to it when it released as the lead single for the record. A perfect fit for the start of summer. This then leads straight into the simple power pop of Paperchains. The song feels like such a nostalgic tune for me, reminding me of the chaotic and propulsive energy of Circa Waves debut record, Young Chasers. Dobro slows it down just a tad to provide a more American, bluesy aesthetic. Similarly to Kick Stones, the interplay and harmonies within the groups joint vocal approach build up this lovely layered mix, with Aoife Ansen O'connell's higher register vocals bouncing off the rest of the guys in the group's voices so well.

The rest of the tracklist very much carries on in this fashion. Fast paced, layered up indie rock tunes that build to dynamic choruses. Well Done Kid, You Did It has layers of twangy mid-western indie styled guitars. Worried Age is a slow burn that starts off with just a rhythm guitar, before the drums and lead guitar come in in the second verse, but then they strip it all back for the bridge and bring everything back in for a climactic finale. Pin Up Boys is easily the most 'anthemic' of the songs on the album - and makes sense as the big single being pushed on radio. The track has a lot of contrast and dynamics between the building verses and singalong chorus and "Wah hoo" backign vocals.

The back end of the record is where the band's artier, more Windmill Scene, tendencies. Aoife takes the lead on Coyote, which has a strong narrative about 'Mr Coyote' and the destruction of the natural environment by man. The song is a lot more restrained than the rest of the record thus far, and only really erupts into the cacophony of sound in its final 30 seconds. Patchwork slows things down even further, being a slow-burning indie ballad with gently strummed guitars and twinkling keys. It's the closest BC,NR the record gets and is a really nice change of pace. Take My Leaving As I Love You is another slow jam, being just a single set of vocals and an acoustic guitar. You Could Have Died There On The Dancefloor brings back some of the energy for the finale, but the wordy, dense lyrics definitely give BC,NR or Cameron Winter vibes for sure.

It Goes On is such a fun and easy to throw on indie rock record. It boils everything down to the basics and is all the better for it. I won't say its an earth shattering listen, and before release I was expecting them to go down more of the art-rock route than they actually ended up doing. But for what it is, it is a blast of a time and I'm sure the band will go and do even greater things from here.

Top Tracks: Kick Stones (The Boys), Paperchains, Dobro, Well Done Kid, You Did It, Worried Age, Pin Up Boys, Coyote, Patchwork

7/10

Yard Act - "You're Gonna Need A Little Music" (2026)

Yard Act are a funny one for me, being a group that I've always felt like I should like way more than I actually do. They burst onto the scene in 2021 with the Dark Days EP, which was quickly followed up in early 2022 with their debut record The Overload. Being politically charged post-punk that was very in vogue in the post-Brexit / Covid lockdown era (e.g. Fontaines D.C. and IDLES), it should've been right up my street. However I felt it was already behind the curve, with a glut of other bands with a similar stark post-punk sound and talk-sung lyrics in the vain of Mark E. Smith around at the time. The fact that two weeks later, Black Country, New Road released Ants From Up There and basically shook off any tethers of the Post-Brexit / Crank Wave stylings made Yard Act the posterchild for 'Radio 6, post-Brexit, post-punk landfill' to me. This was probably a little unfair of me, as The Overload has aged better than some of the other albums from the scene (does anyone even remember Dry Cleaning or Goat Girl?); as frontman James Smith's witty, sarcastic lyrics have held up rather well and the post-punk and dance-punk grooves are incredibly tight and well performed.

It was only upon the release of their second album, Where's My Utopia? in 2024, that I started paying more attention. The group broadened their sound, taking more influence from fellow West Yorkshire bands Pulp and Arctic Monkeys, and took a different direction with the themes of the record, essentially being this meta-commentary on the band's place within the scene and how they're not ashamed to make more pop-leaning tunes, music snobs be damned! (One of the singles was called We Make Hits, so it's hardly subtle). I enjoyed Where's My Utopia? way more than The Overload, but I still wouldn't say the band had truly found who they were yet; or that the album was a must listen for the genre. I was intrigued where the band would go from here, as it felt to me as if they were caught in a no-mans land. Too on the nose and derivative to be put in the same bracket as the arty, experimental Windmill Scene bands; but also too politically charged and uncommercial to really fit in with the Radio 1 acceptable indie rock.

That brings us to You're Gonna Need A Little Music, which sort of slots in the middle sound-wise between their previous albums. It's more rock leaning (and definitely their heaviest album) than WMU? but retains a lot of quirky, stuffed to the brim songwriting and poppy, melodic sensibility. That is made clear by the opening cut, Empty Pledges, and its crashing, thunderous drumming and cacophonous piano hits. The track is from the perspective of Smith coming back to Leeds after years away and the vibe changing with former friends, where neither party really relating to each other anymore. The track builds to an intense climax that sets the tone for the record, which is more in your face and fiery than . 

New Beginnings follows up with one of the most straightforward indie rock tunes the band has recorded thus far. The song has an earworm hook and a bouncy riff. I like the imagery around framing making life decisions that pan out well like a smug lottery winner, but the song overall is a little too repetitive for me after the third time the singalong chorus comes around. It's all very arms-in-the-air and festival friendly. Tall Tales, similarly, has interesting ideas around deception and how people aren't always how they first seem to be; but the chorus is simple and repetitive, and just does not do it for me. Fiction rounds out the first leg of the record and further delves into this idea of competing truths, and the cynicism and profiteering that occurs when pitting people who are so steadfast in their opinions against each other. It is one of the more on the nose tracks the band has written, and honestly to me is a little obnoxious. The refrain is literally "I sing my thesis to you / you sling your faeces at me / we're all bananas to the monkey in the tree".

It's only when the title track comes around, and the band moves away from the more generic indie rock / post-punk instrumentation, that my interest really returns to the record. The song is a Pulp-esque disco rock jam where Smith croons in his lower register about evocative story-telling and how embellishment of events makes them more memorable. The song's protagonist is deliberately presented in a seedy and sleazy way, and there's even a murder plotline involving the sister of 'Janey', a recurring character throughout the lyrics of the album. The drama and excess of the tune certainly go over a lot better than the fairly thinly sketched cynicism and more run of the mill indie rock instrumentation of the album after Empty Pledges. Cherophobe Rock takes aim at those pretentious folk who take themselves too seriously, with an instrumental that has a bit more of an umph too it than some of the earlier tracks. I like the energy of the song, but I do find the lyrical content funny from a band that I find can come across a little smug and self-satisfied themselves.

Thrill Of The Chase is where the album really kicks into another gear. The song is a breakneck rap-rock jam where Smith lets go of his more composed and sarcastic delivery and morphs into a full tirade, taring into performative virtue signallers and the endlessly changing standards they hold, and the pointlessness of 'chasing' this degree of perfection. Janey Said then flips the energy completely, slowing everything down to essentially a poem set to very minimal and hazy music. The imagery of the song paints an evocative if slightly surreal image of James meeting up with the character of Janey for a catchup, and framing his worries about life and the band (whether it will last, or will fall apart) as insignificant to whatever her struggles are. What she's feeling is never explicitly described, but James knows something is off. It's a really clever track that really encapsulates that feeling of watching an old friend struggle but not knowing how to help.

Following this, Redeemer comes crashing in, bringing back all of the intensity and fire that had previously been building up through Cherophobe Rock and Thrill Of The Chase. The song is this moody and sludgy tune that recalls the dark bitterness of Arctic Monkey's Humbug - a vibe perfectly fitting for a track about clinging to your chosen messiah-figure as the whole world falls apart around you. The song is pointed and angry, and has only grown on me since it was released as the lead single for the record. Unfortunately the album returns back to the more jaunty indie rock for it's last two cuts and kind of drops off a cliff for me. Talky Talky People once again returns to the topic of people who talk too much and don't know when to shut up, but the repeated hook of "Talky talky people" just feels rather amateurish to me. Over The Barrel is just as tacky to me, with its bouncy indie rock bassline and syncopated 'carnival'-style piano hits. The song sounds like the end to a panto or something to me and it just feels jarring after the angrier and heavier second half.

I think You're Gonna Need A Little Music is a mostly good album and Yard Act's best effort so far; but they still feel like a band that hasn't quite found their niche yet. The more indie leaning cuts don't hit me the way the heavier ones here do. I'm intrigued by where the band go from here, as the scene they broke through as part of doesn't really exist any more, and the album didn't chart nearly as high as their previous two - suggesting that the audience appetite for this kind of politically charged, wordy post-punk might not be there anymore. As it stands though, YGNALM is solid and have come back to it multiple times since it released in July, which is more longevity than any previous Yard Act project has had for me.

Top Tracks: Empty Pledges, You're Gonna Need A Little Music, Thrill Of The Chase, Janey Said, Redeemer

7/10 

Pulp - "More" (2025)

When I reviewed Different Class last year, I mentioned that I would like to talk about the new Pulp record if I had time. And as I have just seen them live the other weekend (an amazing show by the way!), I think it's now or never to talk about this record. Aptly titled More, this is Pulp's 8th record (5th worth caring about as the first three are strange and sporadic releases which document Jarvis Cocker's personal artistic development moreso than records with a distinct 'Pulp' identity). It is also the their first in 24 years, as the band took a hiatus in 2002 due to them feeling pretty burnt out after the success and excess of the Britpop era (go look up Jarvis Cocker's encounter with Michael Jackson at the 1996 BRITs for an example of the sort of shenanigans they got up to) and have only previously reunited for a few live shows in 2011-2013. That all changed after the band reunited for a second time in 2023 for some more big live shows; which really inspired them to get back in the studio and make a new record.

There was no guarantee how the album was going to turn out, considering how long it has been (and how often comeback albums are merely just okay - looking at you, the last two Blur records); but I think the title is very fitting, as this is just more Pulp. More of Jarvis Cocker's witty lyrics, more of the infectious disco-rock grooves, more of the singalong anthems. The band's sound hasn't stayed stagnant, however. There's a degree of maturity and perspective (even tastefulness) to More that replaces the extravagance and excess of their 90's work. Jarvis is certainly less horny (there's only one, maybe two songs that are explicitly about sex - compared to basically the entire of Different Class), being more concerned about topics like aging, companionship and nostalgia. The instrumentals and song structure are less stuffed with singalong hooks and bombastic crescendos, and are built around more patient builds with subtler pay-offs. This might be Pulp-sacrilege to say, but I think it results in their best overall album. Yes the singles of the 90's are classics in the canon of British pop music; but the albums that fall around them end up feeling a little redundant. Whereas More feels like a complete and cohesive body of work where every song compliments each other.

Not that there isn't an big, bombastic anthems on the album, as the two singles are vintage Pulp in all the best ways. The opener, Spike Island, was our first taste and is honestly as good as their 90's best: the spacey, bleepy-bloopy synths; the dance rock groove; the soaring, singalong chorus. It's been regularly stuck in my head since it was first released 18 months ago. Got to Have Love is even more disco with a 4-to-the-floor beat and dramatic string section. The song also has the purest of messages, being a simple one about how everyone needs love and as Jarvis puts it "Without love, you are just jerking off inside someone else".

The rest of the record is much slower and more mellow, being mostly quite stripped back and patient ballads that slowly unfurl rather than go in all guns blazing. The track Tina is this plucky little art rock tune that follows the tale of innocent infatuation with a stranger on the train, imagining an alternate reality where the protagonist and Tina are married, despite the pair never actually speaking. Where Jarvis of the 90's would have painted the situation in a self-deprecating or particularly horny way, the whole scenario is described in an entirely wholesome way. Grown Ups is similarly mature, with Jarvis reflecting on his own youth (including falling out of a window in 1985, which prompted him to take himself and Pulp as a band more seriously); alongside the youths of today trying to act mature and 'grown-up', and the ultimate dissatisfaction that comes the mundane 'mature' life that these youngsters are trying to replicate. The track slowly builds in tension until it reaches a dramatic crescendo.

The record really slows it down when it gets to the fourth track, aptly titled Slow Jam. The song is a sultry and sensual slow jam (who'd have thunk it!), with a simple bass line and subtle touches of strings. The next track, Farmer's Market tells the story of the protagonist encountering someone from his past (a teenage crush, or a nightclub hook-up, it's not clear) years later at a farmer's market and deliberating going up and actually finding out who this person is and re-introducing himself. It's a very quaint and cutesy piano-led tune that really brings a smile to my face. Outside of Got to Have Love, the record stays at this very low-key and reflective pace for basically the rest of its run time. Background Noise is another string laden ballad where Jarvis is reflecting on aging and how excitement in relationships fades over the years - turns into background noise as the title suggests. Partial Eclipse follows up on these themes, telling the tale of a person almost cheating on their spouse, but ultimately sees straight and decides against it. I think the imagery of comparing this moment of weakness to a partial eclipse of the sun, where the light slowly fades, but at the critical point returns again, is brilliant and really evocative.

A Sunset closes out the record with a track that sounds almost like a lullaby. It is so mellow and relaxed, and feels like the perfect way to end a record that is so comfortable in taking it slow and letting itself linger. The song is a subtle critique of capitalism and commercialism, and that fulfilment doesn't come from what you buy or how much you own, but by what you choose to do and experience. It is a somewhat sombre, but fitting, close to a record all about reflecting on the past and assessing what was and wasn't important in the end. And what was important was: taking a chance, experiencing life, experiencing love, and committing to it.

I really dug deeper into Pulp's discography before going to see them, and after getting to know all their records, I do really believe that More is their tightest, most consistent and most cohesive piece of work. It shows a band that have not been stagnant in their 20+ years off, and that have produced something worth getting back together for. 

Top Tracks: Spike Island, Tina, Grown Ups, Slow Jam, Farmer's Market, Got to Have Love, Background Noise, Partial Eclipse, Sunset

8/10

The Strokes - "Reality Awaits" (2026)

 

So much good music has been released over the past month or so, but I have been moving and without wifi so I haven't been able to talk about it. So what a better place to start than the one anticipated release that ended up being a massive disappointment! It's been six long years since the last record from the Strokes, 2020's The New Abnormal. That record was a shot in the arm for the band after over a decade of diminishing returns with each release. It drew more from Julien Casablancas' experimental tendencies that he previously had reserved for his side project, The Voidz. As a result, the record felt fresh and invigorating for the first time in a long while for The Strokes, and at this point I think it's fair to say it will go down as one of the defining indie rock records of the 2020s.

However, considering the groups inconsistency in terms of both quality and release schedule, there was no guaranty that we would: 1) get a follow-up any time soon and 2) it would live up to the bar set by The New Abnormal. Those fears were further compounded by the release of the third Voidz album in 2024, which was a ginormous step back from the first two records (which are actually better than the majority of what The Strokes released in the 2010s). The album felt more like a compilation of half-finished and half-arsed Julien Casablancas demos than an actual full-band album. I only ended up listing to it once because it was just that drab and tiresome, but from what I remember one of the biggest flaws with that record was Julien's pretty low effort vocals that were then slathered in autotune as some sort of artistic choice. That overuse of autotune turned what was a pretty forgettable album into one that was actively grating to listen to. 

And then in comes Going Shopping, the lead single to this new Strokes record, and Julien's vocals are once again slathered in unnecessary autotune. The song at the core of it isn't half bad as well, which makes it even more frustrating! The song is a tight piece of new wave pop rock and has a catchy melody and some pretty fun lyrics from Julien, taking an absurdist angle on consumerism and FOMO mentality. The song has grown on me since it's release, but the autotune is completely unneeded for the song and does kneecap its potential. The following single, Falling Out of Love, really set the mood going into the album for me and many others. The song is this meandering 6-minute slow jam that goes nowhere and does nothing, and Julien's vocal performance is so low effort and the amount of autotune applied is egregious. It's definitely the worst song on the album and is a good shout for the worst song the band has ever released.

Considering Falling Out of Love, I went into the full album expecting the worst - something along the lines of that last Voidz record. I was pleasantly surprised that it wasn't as bad as I was expecting (but it's still not great), and the autotune is surprisingly not my major qualm with the record. It's still overused and adds very little to the tunes here, but its relatively minor compared to some of the other problems with the record. The main one is Julien's lyrics and vocals outside of the use of autotune. He's back to sounding like he doesn't give a shit again (a la Comedown Machine), barely making an effort to stay in tune. Lyrically and thematically, the record feels half baked and half formed, and outside of a vague theme of cynicism towards a technologically driven future, I can't really tell what it's about. And there's a couple of moments (that we will get to) that just seem so ill-conceived and out of touch.

Musically, most of the instrumentals are at least fine-to-decent, but the majority of the tracks lack any real direction or propulsion, and most run too long and run their ideas into the ground. They also jump around styles quite a bit and don't fit together in a cohesive way, resulting in an album that feels way longer than it actually is. I think the worst offence here is that even the best songs here feel like worse versions of ideas and riffs The Strokes have done before. The track Going to Babble On, for example, just sounds like a half formed copy of The Adults are Talking, with none of the dynamics or interplay that makes that track so fun to listen to. And Julien is doing exactly what the title suggests on top, just babbling on. It's fine and perfectly listenable, but really feels like a leftover from The New Abnormal.

The record opens up with Psycho Shit, which actually utilises the autotune quite well. The song is an eery and creepy intro track, and the autotune adds to the uneasy atmosphere. However at over 5 minutes it doesn't really go anywhere from this point beyond Julien's vocals becoming louder and more aggressive. I guess there's a bit of an arpeggiated guitar solo at the end, but that in itself ends before it really gets started. Dine N'Dash is a decent song on the record with its moody post-punk groove and a fairly clean vocal performance from Julien. However, as with much of the record, its hand is played by the half way point and the groove and melody are run into the ground for another two and a half minutes. Lonely in the Future is the best musically, with its jangly guitar and a nice key change during the chorus and a fuzzed out keyboard solo. But god Julien's lyrics are terrible. It's basically three minutes of him whinging about other artists who have supposedly 'copied' him and picking a fight with Anthony Fantano for *some* reason. It screams out of touch and chronically online. And its not like The Strokes are known from cribbing ideas and riffs from other songs are they?...

By the time the rear end of the record comes around, I've really lost interest. Liar's Remorse strips most of the instrumentation our to create quite a sparse sonic palette. But Julien's vocals are really droning and the weird combination of autotune and reverb just makes them come off way too loud for the mix and drown out the subtler instrumentation. The Fruits of Conquest is an odd funk rock tune but just meanders about for five minutes with little in the way of direction or structure. Much like Going to Babble On, it feels like a worse version of a New Abnormal song, this time being Why Are Sundays So Depressing. Tyrants of the Mellow Moon tries its best to be a moody and dramatic closer, but once again the autotune is pretty overdone and the tune at the core of it is pretty run of the mill and unspectacular. A pretty damp squib of a song to end on.

Reality Awaits is handily the worst Strokes album, its all over the place, and even its best songs would be some of the weakest on any other record in their discography. It's not as offensively bad as some fans have been making out, but it really isn't that good either. Apparently the majority of the album was recorded way back in 2022, and the fact that the band has sat on it for four years says a lot about how much belief they actually have in it. I have no idea why they didn't just scrap it and start again with a blank slate, because you can only polish a turd so much as the saying goes.

Top Tracks: Going Shopping

4/10

Ed O'Brien - "Blue Morpho" (2026)

For those who don't know, Ed O'Brien is Radiohead's lesser well known guitarist after Jonny Greenwood. Unlike Greenwood (and most other members of the band), he never really engaged in any side projects outside of the band. That all changed in 2020 when O'Brien released his first solo record, Earth, under the moniker EOB. While an enjoyable album, it felt a little tepid and unsure of itself. It had its foot in a handful of genres, but never went all in on any. The whole context around the album does point to some clues: Ed's choice to go by a moniker, the fact that it was pieced together on-and-off for the majority of the 2010s, and he even at one point considered to get Thom Yorke to do the vocals as he didn't feel comfortable being front and centre.

It's taken long enough for a follow up that I thought that maybe it was a once and done thing for Ed. Admittedly the pandemic scuppered touring plans for Earth and Radiohead finally returned from their touring hiatus in 2025, but 6 years is still a long time. It's been a long time for Ed as well, who has been quite candid in the promo for this release that in the intervening time he became quite depressed, feeling like he was both over being in Radiohead and not knowing who he should be outside of it. Similarly to the driving themes behind Earth, he took solace in being in nature and recording music by himself, at his own pace. Thankfully, Ed has come out of this dark period and has resulted in him being more confident and secure in his own artistic abilities and work. What has resulted is him ditching the EOB moniker and creating an album that is a much more confident and creatively daring (and overall better). 

Blue Morpho follows on from the folkier side of Earth, but mixes in a lot of post-rock and early Pink Floyd-esque psych rock, which results in quite a chill and formless record that effortlessly ebbs and flows between its moods and moments. Some of the tracks even veer into ambient territory. The nearly 8 minute opener, Incantations, gently eases you into the record with gentle chiming guitars and subtle effects, before slowly building over the course of its run. First comes in Ed's soothing, hypnotic vocals; then the drums and bass, and ultimately layering up the mix into something that feels both grand and understated at the same time. It progresses through a couple of stages where the song is stripped back to various different instrumental sections then built all the way back up again. It's a great opener and tone setter for the rest of the record. The 6 minute title track follows with much more ornate and pretty chamber folk instrumentation. The strummed guitar is matched with swooning strings and field recordings of chirping birds. It has a cinematic quality to it. I could see it fitting in perfectly alongside the transition to an exotic location in a Bond film, for example. 

The middle of the record pairs back the expansive song lengths somewhat, but the tracks still have a lot to offer with plenty of intricate moments. Sweet Spot starts as a gentle acoustic strummed tune, but the layers once again build up and a subtle samba rhythm emerges from the beat. Teachers is easily the most 'rockiest' and Radiohead-y of the songs here, sounding like a looser and less neurotic version of the kinetic grooves present on National Anthem, complete with spooky and disorientating effects and processed, distant vocals. However, where National Anthem descends into pure madness, Teachers pulls itself out with a triumphant guitar line and soaring vocals.

Solfeggio and Thin Places are essentially short ambient interlude tracks that give a little breathing room between Teachers and the closer, Obrigado. Solfeggio feels straight out of David Bowie's Low (I will finish the David Bowie reviews, I promise) with its subtle pulsating electronic bassline and fuzzy lead synths. Thin Places, on the other hand feels way more organic, as the main instrument in the mix is a super reverby and layered up panpipe. Obrigado then comes swinging in as the cool, confident closer; as Ed sings "Sunny days, sunny days awaiting me" against a bossa nova rhythm and jazzy keys and bluesy guitars. It's a song about coming through trouble to sunny days ahead and feels so triumphant and joyous. Much like the opening tracks, it's long and expansive (10 minutes in this case), and at the half way point it goes full prog rock and transitions into a second section that includes a super expressive guitar solo that is given full breathing room to warm up and slowly progress into an dramatic climax to close out the album.

I've been itching to talk about Blue Morpho since my first listen, but I've been too busy this summer to get round to it. And I'm actually glad about that, as it has only grown on me as I have spent more time with it. It has been the perfect soundtrack to these endless heatwaves, and has really seeped into my life. I'm sure it will be in my rotation for many summers to come, a feat the Earth sadly didn't manage. If you're a fan of Radiohead or just looking for something relaxing to stick on while you're enjoying yourself in the sun, I'd really recommend checking this out.

Top Tracks: Incantations, Blue Morpho, Teachers, Solfeggio, Obrigado

8/10

Olivia Rodrigo - "you seem pretty sad for a girl so in love" (2026)

Olivia Rodrigo needs no introduction at this point, being one of the biggest pop stars of the 2020's so far. I jumped onboard the hype train with her previous record GUTS in 2023, which was an immense improvement on her already pretty decent debut. That record saw her build on the pop punk and piano pop sound with more mature and more intricate writing, alongside exploration of other genres like indie rock and new wave. I did and do still think GUTS is such a fun and cathartic pop record; and I really felt like it was the beginning of something special for Olivia. The anticipation for where she would go next would only grow for me and many others over the next few years, really bubbling over at her Glastonbury headline slot last year when she brought out The Cure's Robert Smith to duet a couple of their most lovestruck and euphoric tunes. (Olivia basically won the indie cred game there).

So it's no surprise that lead off single, drop dead, gives off massive The Cure vibes. The euphoric ecstasy of discovering new love described in the lyrics and soaring post-chorus synth line are so Just Like Heaven or High; but The Cure is not the only touchpoint that the song draws from. The rambly, talk-sung second verse evokes Wolf Alice's Don't Delete The Kisses, and Dan Nigro's glitzy 80's production recalls his work with Olivia's close friend Chappell Roan. I'll admit that the song took a little while to grow on me, as the dense, wordy chorus was not as immediately catchy as some of her previous singles; but as I sunk my teeth into it, the song is great pop song and a great opening track to set up the album and it's narrative. That narrative, as you could probably guess from the record's title, is not just the tale of falling in love and living happily ever after; but the breakdown and unravelling of the relationship as things start to fall apart. The sequencing of the album splits it into two halves: the opening 'girl so in love' and the second half titled 'you seem pretty sad'. This gives the record a really strong narrative and throughline that sets it a cut above Olivia's previous albums before a note has even been played.

What is really clever about yspsfagsil (that's an acronym and a half!) is that the cracks and eventual demise of this relationship is foreshadowed in the lovesongs of the opening half. drop dead features little hints of obsessive infatuation in the lyrics and the whole vibe of the song is so sickly sweet that it's a little uncanny. The following track, stupid song, follows a similar path. The song starts as a stripped back piano ballad, but just builds an builds the layers and intensity to a point that feels once again a little obsessive and a tad unhinged. Olivia's run-on vocal delivery and the immense dynamics of the song remind me of the best (and most melodramatic) Lorde tracks. It's only when we get to the following track, honeybee, that the album finally lets up for a little bit of a breather. The song is a slowburning, lovesick piano ballad. On a musical level it is probably the most straightup and least interestingly presented song on the album, but lyrically and vocally, Olivia's performance really commands your attention. The topic of feeling completely inseparable without your partner and couldn't even imagine how you'd cope without them around again foreshadows the future unravelling of the relationship when it is placed this early on within the album's narrative.

The melodrama eases up a little with the next two tracks, being a duo of pop-era Cure infused new wave and jangle pop tunes that on the surface, present themselves as a lot more fun and carefree than the manic intensity of the first few tracks. However peeling back the layers and reading into the lyrics further pushes the narrative and throughline of the record. maggots for brains, not only being so damn catchy (this kind of power pop / jangle pop song is like crack to me), also has really clever and detailed lyrics about feeling lost and directionless when your significant other is apart from you for whatever reason. Quite literally like having maggots for brains. u + me = <3 is the closest the album gets to pure, unadulterated romance; and probably the only track that can be taken out of the narrative and genuinely be spun as an entirely positive love song. It doesn't quite hit the pure, unbridled ecstasy of  Just Like Heaven or Friday I'm in Love, but Olivia gives it her best shot and gets pretty close in my opinion.

The last two tracks of the girl so in love half is where the lovesick narrative starts to turn and go sour (pun intended). my way is a sassy 2000's pop rock banger that reminds me of the likes of The Veronicas, The Cardigans, or even The Yeah Yeah Yeahs. It's a vicious and petty takedown of a partners ex, and highlights how despite how apparently in love Olivia is with this person and how she is claiming that they're a perfect match, she still feels threatened by someone from their past. The driving beat and roaring guitars give it a sense of vitality (and immaturity) that really sells the point she's at in this stage of the relationship. purple closes out the first half and really acts as the fulcrum that the narrative hinges on. The lyrics initially read as more infatuation with this person, but as the song progresses Olivia comes to the realisation that she is losing herself in her partner and they are becoming too intertwined and co-dependant. His red and her blue merging together to become purple as she puts it in the chorus. The muted, synth driven instrumental is equally mushy and undefined - and really highlights that this relationship is not exactly how Olivia has been telling herself it is on the record up to this point.

The you seem pretty sad side of the record opens up with a bang with the albums second single, the cure. Despite its name, its one of the lesser Cure sounding songs on the album. The track is more indebted to 90's alt rock, picking up queues from Foo Fighter and The Smashing Pumpkins. It is a patient and slowburning power-ballad that layers up the strings and the drama on what at the time of release was Olivia's longest song by a fair margin (and is only beaten by the closing track cigarette smoke). The song plays into the themes of feeling broken and unfixable, and that no matter how hard her partner tries, their love will never be enough. It really sets the tone for the raw and unguarded emotionality of the second half of the record.

The majority of the back end consists of subtler, more stripped back acoustic guitar and piano ballads, which historically I've felt have been the weaker moments on Olivia's past releases. However that is not the case here, as the lyricism on these tracks is stellar and leaves you feeling every gut punch with Olivia. begged tells the tale of Olivia becoming increasingly frustrated with her partners lack of attention and effort, and that the little that they are doing is poisoned by the fact that she's had to beg even for the bare minimum. less goes one step further, really going into excruciating detail about this relationships misgivings and that if loving her means letting her go, then she'd rather be loved by him less. It's such painful and somewhat bitter take on love and relationships which is often overlooked in pop music, where a breakup is magically goes from 'oh I'm so sad about losing this person' to 'well I'm better than them anyway' at the flip of a switch.

The track what's wrong with me sits in between those two songs, and is the point where all the Cure-isms come to a head with a feature from Robert Smith himself. The song itself isn't particularly Cure-y from a sonic standpoint, but the melancholic mood and general vibe of the song definitely is. The track perfectly captures the romantic apocalyptic-ism of tracks like Pictures of You and Letters to Elise. The song is so beautifully written and the two sound fantastic together. Olivia's youthful earnestness is perfectly balanced by Smith's world-weary voice, making the track transcend being a modern pop song into something more timeless.

The penultimate track expectations brings back some energy to the record, being this quirky, dance-y new-wave banger about going back out into the world after the breakup, trying to meet new people at parties etc. Olivia's snark has come back, taking potshots at the low effort guys with 'fake jobs' and living off their parents money. The crunchy synth lines and whacky backing vocals from pals Chappell Roan and Conan Grey make the track just so much fun and the perfect antidote to the sadness of the second half of the record. That optimism is short lived, however, as the closer cigarette smoke returns back to the breakup and that Olivia still has a long way to come; reflecting that these things aren't linier and some relationships will leave scars that last a long time. The track also has some lyrical call backs to previous moments on the album so really feels like it rounds the record off in a nice and cohesive (if pretty downright sad) way.

you seem pretty sad for a girl so in love is a fantastically written and produced pop album. I'm enjoying it more and more with every listen. Yes it might be sonically walking well trodden ground with it's new wave and pop rock inspirations, the tight and intricate narrative of the album makes me really feel like it doesn't matter. Olivia is in a different league to her contemporaries that she's so often compared to, and after the way this record has turned out, she could do whatever she wants for her next release and probably pull it off.

Top Tracks: drop dead, stupid song, maggots for brains, u + me = <3, my way, purple, the cure, begged, what's wrong with me, less, expectations, cigarette smoke

9/10

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

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

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

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

Pulp - "Different Class" (1995)

 

As I mentioned in my review of the new Elbow EP, a lot of great music has come out in the past month or so, including the new Pulp album - their first in 24 years. So instead of talking about that (maybe I will if I get time), I'm going to talk about their most critically acclaimed and commercially successful record, Different Class. I've been a casual fan of the band for years; I grew up on Common People and Disco 2000 and I've had their greatest hits on my phone since the days before I had Spotify. However I never really got round to delving deeper into their discography until now. I've been on a bit of a Pulp kick recently with the new album coming out and their fantastic Glastonbury set (the best of the weekend in my opinion). I'm also currently reading Jarvis Cocker's book about him cleaning out his loft and discovering all the random junk he has accumulated over the years.

Different Class, alongside Blur's Parklife represent the quintessential elements of Britpop as a scene and genre. Both are albums telling irreverent tales of every day British life set to singalong anthems ready for a festival field. However, where the songs Parklife had this very Kinksian detachment from their subject matters, Different Class is much more close and autobiographical. How true to his life and / or embellished the narratives Jarvis Cocker presents are is a different question, but he certainly wants you to believe that the feelings described by the protagonist of these songs are genuine. 

As an aside, I find it interesting to view Pulp's career as a sort of dark reflection of Blur's: both bands released early work that didn't make (that) much of a splash, then an album that set the groundwork for their mainstream success (His N Hers for Pulp and Modern Life Is Rubbish in Blur's Case) followed up by a mega smash (this album and Parklife). Both bands then pivoted into slightly darker, less commercial territory - which for Blur resulted in some of their most critically acclaimed work and set Damon Album up for even more success with Gorillaz. However Pulp's pivot away from the singalong anthems was ultimately met with a bit of a shrug from fans and critics alike and has resulted in the 24 year gap between records.

Also much like Parklife, Different Class is the kind of record where nearly every song could have been a single and therefore the record almost feels like a greatest hits playlist - quickly moving on from one big bombastic singalong to the next. The album spawned five actual singles in total; the aforementioned Common People and Disco 2000 (which still regularly get as much airplay as the biggest Blur and Oasis songs), Mis-Shapes and Sorted For E's & Wizz as a double A-side, and the slower ballad Somethings Changed. I'm not going to spend too much time talking about Common People or Disco 2000 as you must be living under a rock to have never heard these songs, but they just perfectly encapsulate the cinematic scale of entering your late teenage years / early 20s and all the opportunities and shenanigans that you are presented with; and the realisation that not everyone around you walks the same path as you or will be on the same path as you forever. The songs also incorporate something that sets Pulp apart from all their contemporaries - Disco. These song's are fun and tongue in cheek and made for wedding discos.

Sorted For E's & Wizz has grown into one of my favourite Pulp songs over recent months. The goofy retelling of going to a rave and getting off your face never ceases to make me smile. Mis-Shapes opens up the record with a call to arms for all the misfits and 'Mis-Shapes' to take centre stage against a jangly indie rock riff and Jarvis's typical dramatic crooning, with the song slowly progressing into a tighter, faster paced anthem. Something's Changed is a sweet love song set against some cinematic strings and a bluesy guitar solo - and is probably one of the most earnest moments on the record.

As for the other songs on the record, Underwear has grown into a fan favourite, tongue in cheek, raunchy love song and personally I think it does a better job of it than Something's Changed. Pencil Skirt is an equally raunchy smooth soul pastiche about having an affair with a married woman. I Spy is a moody and theatrical piece that instrumentally gives vibes of the darker side of new wave - the likes of Marc Almond and Pet Shop Boys. The song also tales the tale of lust infidelity, however presents it in a much less harmless way. Cocker is very much playing the villain in this tune. Live Bed Show feels like a mid point between the moodiness of I Spy and the slinkiness of Pencil Skirt that is once again about sex, and has a few Bowie-esque inflections in Jarvis's voice. It's a fine song, although it feels outshone by the tracks already preceding it on the record. 

The back end of the record does slow down a little. F.E.E.L.I.N.G.C.A.L.LE.D.L.O.V.E is an odd art rock tune with a massive sounding chorus, but the verses are comprised of erratic spoken word vocals from Jarvis and strange atmospheric synth instrumentation. It's an interesting song but doesn't fully come together for me. Similarly Monday Morning Incorporates a ska rhythm, although doesn't really go hard enough to really capture the energy of the genre, and the chorus does just do away with it for a default-pulp singalong affair. Bar Italia is a little less full on as a closer, and doesn't really move the needle for me. None of these songs are even really bad in any way, but I think the best of Different Class is so many leagues beyond them that it becomes more noticeable.

Different Class is a classic, just for the singles alone. However much like Parklife, I feel like it's biggest shortcoming is that the compartmentalisation of the songs and just general vibe of the record makes the sequencing kind of irrelevant. The fact that Common People is the third song on the record does nothing to elevate it. It could have worked as a bombastic opener, the main centrepiece at the midpoint or a show stopping finale. As the title suggests, the record is different class, but I don't feel like it's necessary to listen in full, front to back to get maximum enjoyment from it. Putting the songs on a throwback party playlist or jamming out to them when they come up on shuffle works just as well.

Top Tracks: Mis-Shapes, Pencil Skirt, Common People, I Spy, Disco 2000, Sorted for E's & Wizz, Underwear

8/10

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