Music Critic, Benjamin Forsdick, reviews comedian and artist, Open Mike Eagle's latest project, a raw examination of a bleak year coupled with humorous tones

Music Critic Sarah Mawson describes the new EP from Tomberlin, Projections, as a brilliant sophomore release that strongly explores themes of nostalgia and yearning

Music Critic Raphael Kalid reviews the new album from Dorian Electra, My Agenda, describing it as experimental but with an endearingly inclusive message

Music Critic, Sammy Andrews, reviews Joesef's soulful EP. Sprinkled with moments of melancholy and amidst upbeat pop, the Glaswegian's Jazz-styled record makes for a charming set of songs

Clashing 80s pop sounds with high energy, androgynous glam rock, Music Critic Emma Gardner, declares Walt Disco's latest EP a powerful experience for the masses

Future Islands' latest record is a one-dimensional album which fails to build on any of their earlier works and leaves the listener disappointed Music Critic Ben Forsdick argues

Music Critic Aimée Sargeant reviews the debut EP from Rosie Shaw, Sometime Soon, describing it as a captivating listen that is more than just a debut

Life & Style Editor Frankie Rhodes reviews the exciting new album from LANY, mama's boy, describing it as the perfect album for our current times to remind us to cherish what is important

Music Critic Ben Forsdick reviews Napalm Death's enjoyable new album arguing that the fathers of grindcore have not lost their touch, releasing a record which is sure to please fans

Everything Everything's latest release is a combination of good ideas and intentions with mixed results which may fail to please many of their existing fans Music Critic Ben Forsdick argues

Following the success of 2015's The Pale Emperor, Music Critic Cameron Milner takes a look at Marilyn Manson's new gloom-filled record, straddling a line between tradition and innovation

Halsey's live recording of debut album BADLANDS makes for a nice trip down memory lane, but perhaps does not stand apart as a piece in its own right, Music Critic Samantha Andrews writes