Music

Night School: Oxford’s after-hours curriculum

The first time I saw Nahom and Ethan, it wasn’t on a night out – it was an early morning. I was shuffling through the half-awake crowd when my...

Culture Maya Rybin -

Oxford Commas at the Fringe – Interview

The Oxford Commas are a contemporary gender-inclusive a capella group who had their Fringe...

Culture Lara Machado -

‘Aca-demic Weapons’ at the Fringe: Oxford Commas Review

★★★★☆ A capella groups from Oxford have long been favourites at the Edinburgh Fringe, with...

Culture Alexander Kwon -

St Anne’s goes All-Steinway: A purposeful and bold commitment to music

In a move that lives up to its motto of ‘Consulto et Audacter’ (purposefully...

Culture Miriam Hussain -

Latest

Dramatics in Isolation: The Nightly Met Opera Streams Reviewed

On the 13th of March, the Met Opera’s Twitter announced that they would begin a series of ‘nightly live streams’ of beloved operas for anyone with...

Electronic Music: the Sound and the Sceptics

A look back over the history of - and our attitudes towards - electronic music today.

In Conversation: Enter Shikari’s Rou Reynolds

A chat with Enter Shikari's frontman ahead of the release of their highly-anticipated sixth studio album, 'Nothing Is True & Everything Is Possible'

In conversation: Chase Rice

US Country singer-songwriter Chase Rice has gone Platinum multiple times, co-written a Diamond-certified hit, and last year reached No. 1 with his single...

Interview with Musician and Neuroscientist Izzy Frances

Musician and neuroscientist Izzy Frances loves to play on your heartstrings. Propelled by a desire to understand herself and others, Izzy has burst onto...

C’est la Brie: why we love cheesy music

Few would care to admit that the dated tunes of 'cheese' make up a significant portion of our listening habits, and yet music once...

A Hard Day’s Nightmare: Music and Sleep Paralysis

A typical depiction of sleep paralysis may be found in Henry Fuseli’s 1781 painting ‘The Nightmare’. A woman in a clingy white dress sprawls...

Review: Bad Bunny’s YHLQMDLG

In December 2017, Bad Bunny performed just one block from where I was living at the time in Minneapolis, Minnesota. I didn’t know who...

Brits 2020: Where performance met politics

This year’s Brit awards took place on the 18th of February, and did not disappoint as a night of celebration of British culture, entertainment...

In conversation: Greta Morgan of Vampire Weekend and Springtime Carnivore

Greta Morgan - otherwise known as Springtime Carnivore - has made a name for herself as a touring member of indie rock band Vampire...

Review: ‘Sorry’ at the Jericho Tavern

Asha Lorenz’s eyeballs roll back into her skull. One half of the songwriting duo behind the band Sorry, she scowls the chorus of ‘Right...

Interview: Rai Kah Mercury’s Nathan De Giorgi

Rai Kah Mercury are set to break into the Oxford scene with an atmospheric gig in Hertford College Chapel on 3rd March. Known for...

‘Years in the Making’ – Arkells

The name of Arkells’ newest single, ‘Years in the Making’, is somewhat appropriate considering that this is their first new release since 2018’s Rally Cry....

If music be the food of love, prey on

There are two types of Korean faces that generally appear in the Western media. One is thin, chiselled, and attached to a K-pop star;...

Review: ‘The Slow Rush’, Tame Impala

At last, after a five-year wait, we’ve finally got a new album from Tame Impala. The Australian one-man band have just released their...

Lose Yourself: A Sign of the Times

If you want to feel the sensation of your skin crawling, watching Eminem’s unexpected performance of ‘Lose Yourself’ at the Oscars should certainly do...

Review: Billie Eilish’s ‘No Time to Die’

After taking the international music scene by storm, eighteen year old Billie Eilish can now add writing and producing the new Bond theme song,...

An Ode to Trixie Mattel

If someone were to bring up ‘drag music’, the likelihood is that your first thought would sound a little something like 2:30am on a...

Tegan & Sara’s ‘Hey, I’m Just Like You’: a Queer Coming of Age

When Tegan and Sara Quin signed with Neil Young’s Vapor Records in 1999, they were a novelty on the male-dominated indie scene. The identical...

Review: Taylor Swift’s ‘Miss Americana’

Taylor Swift’s last album, Reputation, was an unapologetically aggressive response to the ‘drama’ that she had endured during nearly a decade in the...

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Music

Night School: Oxford’s after-hours curriculum

Oxford Commas at the Fringe – Interview

‘Aca-demic Weapons’ at the Fringe: Oxford Commas Review

St Anne’s goes All-Steinway: A purposeful and bold commitment to music

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