"I didn’t sit back and enjoy the show. And I ended up with a lot more opinions than I had ever expected four pieces of 21st-century choreography to evoke." Patrick Gwillim Thomas discusses the Royal Opera House's newest choreography project.
"Bright and blinking synths atop a deep and detailed sax lead and jazzy and triumphant drums." Oliver Hogg dives into Armand Hammer's seventh and latest project, "Haram".
"The energy is less mosh pit, headbanging, and more vulnerable. There’s talk of heartache and relationships crumbling" Poppy Atkinson Gibson finds a different side to the Australian trio, Chase Atlantic, in their latest release, "Beauty in Death".
""Great Spans of Muddy Time" finds Doyle in new realms of abstraction, with a record that can feel formless, sometimes almost messy." Frank Milligan ruminates on William Doyle's latest release.
"The Arnolfini Portrait was an intricate, sophisticated project with a controlled yet bold execution. Every element of sound was carefully considered, and I took great satisfaction in being guided along Jean’s journey through the various mediums of sound." Beth Ranasinghe reviews the audio production of "The Arnolfini Portrait" by The Industry Magazine Podcast.
"The lack of interaction prescribed by the online format forbids conversation between Lana and her audience, a blockage that’s mirrored by the cited words’ failure to offer clarity on Lana’s lost life events". Eleanor Zhang reviews the online production of These Quicker Elements.
"The potentially risky decision to produce a Spanish album to a predominantly English-speaking fanbase reflects Uchis’ consistent commitment to be authentic to herself." Ellie-Jai Williams explores Uchis’s brave Spanish new album, "Sin Miedo (del Amor y Otros Demonios)."
"The intense and nuanced performances, the queasy mix of fear and fury palpable with a small glimmer of hope, made Oxford’s Orestes a very capturing play." Marietta Kosma reviews The Oxford Greek Play's production of Euripides' tragedy "Orestes".
"Howard has somehow transformed the usually significant divide between the ominous and the amusing into a fine line." J Daniels takes a look into folk singer Ben Howard’s latest album.
"Production is not the greatest sin ‘Holy’ commits. Indeed, I actually really like the gospel piano that kicks the song off, and Justin’s opening verse (“I know a lot about sinners/guess I won’t be a saint”) and pre-chorus (“the way you hold me… feels so holy”), while nothing special, definitely fit and set the mood. Yet, this is immediately ruined by the lyric “Oh God/Running to the altar like a track-star”, which, accompanied by the muddy-too-modern pop bass farting through the timeless instrumentation preceding, wrecks the song beyond all recovery." Raman Handa reviews 'Justice', the latest offering from Justin Bieber.