There’s an authentic feeling to the music here: a refreshing win for artistic integrity. It’s a bit of gamble, and risks alienating many a hipster fan, but in broadening their horizons, Mumford & Sons avoid turning into the musical caricature that had seemed almost inevitable.
Ex Machina is an absorbing piece of speculative fiction. Strong on ideas and characterisation, Alex Garland (The Beach) capably draws on his skills as a novelist in this confident directorial debut that lies somewhere between Frankenstein and Spike Jonze’s Her.
Unfriended, directed by Leo Gabriadze presents a new age approach to the horror genre. The story begins with […]
There are bound to be some varied and strong opinions about this EP but, whatever you think, it is certainly refreshing that an artist is capable of surprising us.
Vaudeville is more of an event than a record; from beginning to end, it provides dramaturgical moments and plot-driven songs.
The band have a reputation for their powerful, spirited live shows; translating this trademark energy onto a recording must have been quite a challenge, but Love Army does the job with aplomb.
Along with a polished and poignant set of songs, Prass’ great asset is her fresh, affecting voice that has a touch Kate Bush or Tori Amos, while channelling those great songstresses of the seventies.
The overwhelming impression from listening to Fresh Blood is how deeply White cares about his craft. He meticulously uses the methods of the past without being stuck in the past, delivering a collection of refreshing, well constructed songs that make for an outstanding album, an offering of great substance.
Having had careers spanning decades, the genuine happiness radiating from both performers was heartening; their energy was reminiscent of young stars taking to an arena gig for the first time, but their skill was far from novice.
Stunning three-part harmonies by front-woman Yasmine Weatherall, drummer Peter Vawser and acoustic guitarist Tonia Brooks are enough to send shivers down the spine…