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G-Dragon – ‘Übermensch’ review: the king of K-pop returns triumphant
On his first full-length album in 12 years, the BIGBANG rapper re-asserts his position as one of K-pop’s greatest stars When Nietzsche introduced his concept of the “Übermensch” in 1883’s Thus Spoke Zarathustra, he presented the world with what he hoped would be a new goal for humanity. Translated to…
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Sam Fender – ‘People Watching’ album review
Feeling existential, uprooted and disconnected from his old working-class life thanks to his rapid rise to fame, the British guitar hero channels it all into his gorgeous third album It’s fair to say the state of Britain the last few years has been pretty grim. Grassroots venues closing down at rapid…
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Nao – ‘Jupiter’ review: a gorgeous voyage into the light
This spiritual successor to 2018’s ‘Saturn’ is lighter, warmer and happier – but just as brilliant Contentment surrounds Nao’s fourth album, ‘Jupiter’, aptly named after the planet of growth and joy. The record captures the angel-voiced singer returning to centre after a period of tumult surrounding…
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The Murder Capital – ‘Blindness’ review: in pursuit of urgency
On their third album, the Irish band aim to purge the inertia behind their previous record, ‘Gigi’s Recovery’, but occasionally fall short The Murder Capital have made no bones about the fact that they view their last album, ‘Gigi’s Recovery’, as overwritten. It suffered, they’ve said recently, from a…
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Tate McRae – ‘So Close To What’ review: serving flip phone-era club-pop
The main pop girl contender sharpens her sound on her third outing, recalling 2000s Rihanna, Britney Spears and the Pussycat Dolls Tate McRae was just a toddler when the Pussycat Dolls dropped ‘Buttons’, but the nostalgic reference suits the now-21-year-old her like a glove – just one listen to…
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SZA – ‘SOS Deluxe: Lana’ review
The protracted rollout of this deluxe album reveals a perfectionist pop girl in transition The roll-out of SZA’s ‘Lana’, billed as a deluxe edition of 2022’s ‘SOS’, has been undoubtedly confusing. The project first arrived two years after its Grammy-winning parent album. An extended…
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Jisoo – ‘Amortage’ review: playful, polished pop on her own terms
On her first solo project, BLACKPINK’s most enigmatic member leans into pop’s timeless pleasures without overcomplicating the formula Jisoo has never been in a rush. As the final member of BLACKPINK to go solo, she arrives on her own terms with ‘Amortage’, a mini-album that doesn’t scream reinvention…
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Rizzle Kicks – ‘Competiton Is For Losers’ review: a welcome return
After nearly a decade in the shadows, the Brighton duo return, effortlessly fusing their signature lightheartedness with a newfound introspection Rizzle Kicks have always had a knack for injecting fun into the mundane – whether that’s sparking a dance trend with the infectious ‘Mama Do The Hump’ or…
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