Reviews
Sotto James Counts the Trees on Are We Running Out Of Time?
On Are We Running Out Of Time?, the Athens songwriter measures an ordinary drive against the quiet recognition that shared time is finite.
Editor-in-Chief
Giorgio Watanabe
Reviews
March Fry Measures the Space Between Love and Control on Cool Rider
The London singer, musician and producer places a quiet, soul-leaning groove under a lyric about wanting more for someone who has stopped wanting it for themselves.
Reviews
Tivoli Boy Still Hears the Boy Who Left on A Fairytale, Chapter One
A 1995 Oslo tape, cut in the weather of the black metal years, comes back as the first gate of a fairytale that has not yet reached the garden.
Reviews
Meaney & the Misfits Close the Circle on Walk You to the Altar
Walk You to the Altar is a close-miked acoustic ballad about time, fatherhood, and the moment a promise comes due. Meaney & the Misfits keep the arrangement small so the lyric can do the heavy work.
Reviews
Drew Thomas Prices the Fantasy on American Dreams
The Grantham-raised grit-pop writer turns the catalogue of fame, bodies and billboards into a hook you can shout, then asks what is left once the screen goes dark.
Reviews
Al Swainger’s Pointless Beauty Keeps the Wish Unclean on Impure Imagination
On Impure Imagination, Al Swainger’s Pointless Beauty treats belonging as something made in the room, then dirtied by the edit. The wish at the centre of the album already knows it may not be real.
Reviews
Vüxin takes the proverb apart on Bumblebees
After Early Morning Hours, the Mainz singer-songwriter opens her debut EP with acoustic guitars, a field of purple flowers, and a very German kind of itch.
Reviews
Santa Claws Argue With the Tide on Sands of Time
From Ploumagoar, the Breton five-piece return with a second album that treats time as something the sea can move, and a song can still try to hold.
Reviews
Sharpshooter Soundworks Ages a One-Hour Loop on Breakin’ All The Rules (Massive)
Chicago producer Andrew Shabazz builds a 70s-shaped sample from plugins, then lets a heavy drum break give it night weight.
Reviews
Jayne Pomplas finds the ending in a field on This Is How The World Ends
A Dublin fiddle player steps out of the session chair and sequences her first album of songs like a season, from a corncrake air to a bluegrass calendar.