Review
by Kat Waplington
The North Borders is as ambitious a record as its predecessor, and it’s just as successful. »
Review
by Kat Waplington
The 20/20 Experience is a little too self-indulgent, but there’s no doubt Justin Timberlake’s still got it.»
Review
by Kat Waplington
It’s a bit like listening to an early Death Cab record, but with Layne Staley singing vocals on an exceptionally mellow, blissed-out day.»
Review
by Kat Waplington
Mekon has managed the clever trick of staying true to his Nineties roots, whilst simultaneously sounding vital and relevant. In the mercurial ever-changing world of electro, that’s no mean feat.»
Review
by Kat Waplington
Flitting from house to chillwave to funk - although admittedly, Flume’s core is rooted in downtempo electro and instrumental hip-hop.»
Review
by Kat Waplington
This collection of hit releases, rarities and new tracks comes together to paint an evocatively grim picture of Proxy’s Russia.»
Review
by Kat Waplington
By its very nature, electronic music is often at its best when repetitive; but it’s a fine line to tread between satisfying and dull. We Will Not Harm You is well-crafted enough that the looping repetition is pleasing, with the dominant bass thwacking out grooves which just play on and on.»
Review
by Kat Waplington
Hardcourage is a consistently upbeat, uplifting record, often openly displaying the high-flying passions of a man who’s fallen hard and fast.»
Review
by Kat Waplington
Louche and decadent, Pacific Standard Time could be represented in one image - a lens-flared screen shot from GTA Vice City, filled with palm trees, swimming pools and all the opulent, pastel-shaded glory of a Californian dusk. It is slightly one-track minded, slightly shallow yes, but it’s also sunny, sultry, and slick.»
Review
by Kat Waplington
The playing is exemplary, but the indistinguishable nature of the tracks eventually holds the album back.»
News
by Kat Waplington
...With its infinite corridors, exploding noir detectives and backwards clocks, the whole thing is feverishly dreamlike and distinctly Kafkaesque. “Dave”, the “original” Bowie, travels through time, finding and confronting his various selves, alter egos and personalities. With a repeated motif of selecting one of his ID’s, it’s a Bowie who is facing all of himself, in the words of Soulwax “changing whilst remaining himself”. It brings to mind Todd Heynes’ Dylan biopic ‘I’m Not There’; a complex homage to a many faceted musician. In both cases, the male lead is played by a woman – Cate Blanchett’s weirdly attractive Dylan is not far from Hannelore Knuts’ portrayal of Bowie’s fragile, cutting cheekbone androgyny. Both Dylan and Bowie are notoriously media-savvy, which allows these unconventional interpretations offer an unusually deep insight; a stylised version of the mysterious reality.»
Review
by Kat Waplington
In the midst of the current all-encompassing bass obsession, it’s refreshing to see something new – and even some of dubstep’s trademark darkness as well – brought to electro.»
Review
by Kat Waplington
While making Former Lives has obviously been personally cathartic, you have to think that it’s far from the best record Benjamin Gibbard could have put out.»
Review
by Kat Waplington
A bit like those inexplicably soothing AMSR YouTube videos, weirdly calming but not something you’re likely to share with your friends.»
Review
by Kat Waplington
Though This Many Boyfriends are nothing revolutionary, in an age where decent straight up indie seems rather rare and unfashionable, they're certainly worth a listen.»
Review
by Kat Waplington
With Careless, Jack Beats have managed to walk the line between eye-rolling glitch and slick, liquid drum and bass and kept it surprisingly varied.»
Review
by Kat Waplington
A step backwards, demonstrating that to rehash old sounds you need to prop them up with new tunes.»
In Depth by Kat Waplington
Kat Rolle considers the challenges for the middle classes when it comes to enjoying hip-hop...»
