Music, much like all art, has long romanticised toxic relationships, but in recent years it’s possibly been taken too far.
Georgia Hilton-Buckley dives into Lana Del Rey’s latest release, Chemtrails over the Country Club.
Music Monthly: February Favourites
Written by Harry Featherston Shame – Drunk Tank Pink Written and recorded shortly after their mammoth 2018 tour (which included a gig at the University’s very own O2 Academy), the hotly-anticipated sophomore album from London post-punk outfit Shame is a worthy successor to their acclaimed debut, Songs of Praise. The aftermath of that tour saw frontman Charlie Steen locking himself away (even before it became a legal requirement), and experimenting with his music in isolation as a reaction to the non-stop action of his life at the time. As a result, the lyrics here reach deep into the recesses of his mind, raising questions of identity and loneliness amidst an atmosphere of panicked claustrophobia, created by the frenetic guitar work of Eddie Green and Sean Coyle-Smith. Given the current state of the world, these themes will resonate with listeners more than the band probably intended, and the album sounds all the better for it. Sleaford Mods – Spare Ribs While blending elements of electronic, hip-hop, and punk, Sleaford Mods have gained a reputation for being …
Holly Aylward offers her top 10 escapist albums to get us through the last few weeks of lockdown.
Up and coming musician Ryan McMey discusses how lockdown has affected his solo career and what the future holds for him.
A look back at the tunes of 2020.
When Cardi B and Megan Thee Stallion released WAP in August 2020, there was two reactions: the empowerment of sexuality for anyone who identifies as a woman or non-binary, or that WAP was disgusting and that woman shouldn’t talk about sex in a liberating way.