Have had work published in Bristol in Stereo, NITELIFE, Louder Than War, among other publications. email@example.com
If there’s one genre of music that was destined to flourish throughout lockdown, it’s bedroom pop. I’ll Probably Be Asleep, the first full-length release from Hachiku (the alias of Melbourne-based artist Anika Ostendorf), provides compelling evidence for this.
Built-up of jangly guitars and warm analogue synths, Salarymen have a sound that’s difficult not to fall in love with. Comprising of Renee de la Motte and Thom Eagleton, the duo have a knack for piecing together their different influences to craft a sound that’s their own – from dream pop to psych-rock, and everything in between.
Though it’s been a while since Grandma’s House played their last show, you wouldn’t be able to tell from their performance tonight, brought to us by Gravy Train at The Lanes. Playing one of their biggest shows yet, in support of their destructive new single ‘No Place Like Home’, the band have never sounded better.
On his second album, Brooklyn-based singer-songwriter Max Clarke, aka Cut Worms, gorgeously pays tribute to 60s pop music while grappling with the unease of the present day.
Taking pointers from dreamy rock acts like Yo La Tengo and Unknown Mortal Orchestra, as well as shoegaze bands like Slowdive, Grids & Dots have crafted a sound that’s equal parts familiar and new. It’s sunny, with an undercurrent of melancholy.
Kenneth Womack’s new book explores the final, tragic year of John Lennon’s life, in which the former Beatle tried to relaunch his career and reinvigorate his marriage.
The Australian rockers deliver more of the same with their second album, though that doesn’t really matter too much when “the same” is this good.
The 1975’s new album is huge and sprawling, exploring almost as many genres as it has songs. It shows off the band at their best – and their worst.