Within this over-long 16-track dual album, there is a six-track EP of clearly personal and wonderfully performed songs, that gets lost in the chaff.
Lolo Zouaï has created a frequently beautiful and satisfyingly three dimensional pop record and High Highs to Low Lows is an unexpected delight.
By releasing half a record, has MARINA (formerly Marina and the Diamonds) blemished her otherwise strong track record?
WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? is one of the most thoughtfully creative and self-possessed albums of the year.
Self Esteem’s Compliments Please is a positive indication that creative, labour-of-love alternatives to production line pop is still very much alive and well in 2019.
Good at Falling cracks open the door and successfully allows The Japanese House to make an impressive and compelling connection.
The light is well and truly beaming right now for Rozalla, and it seems it has no means of fading anytime soon.
Ladytron is one of Ladytron’s most essential records and one that builds on their surprisingly long tenure as one of the most influential electronic bands of the last 20 years.
Don’t Feed the Pop Monster is Broods’ most classically pop album so far and also their best. If it isn’t a hit then don’t blame them and instead look take a harder look at the current state of pop culture as it continues to merrily eat itself.
Brighton and Hove Pride announces the headliners for its 2019 Pride in the Park and LoveBN1Fest, which this year marks the 50th anniversary of the Stonewall Inn uprising