Back catalogue:

Review: Washed Out's fifth album, Notes from a Quiet Life, marks a bold departure for Ernest Greene, the creative force behind the project. With an immersive blend of funk, soul, hip-hop, beats and breaks, this album transcends genres, offering a captivating journey through lush, sun-baked electronic pop. Greene's move back to the countryside has deeply influenced his artistic vision, evident in the album's introspective tone and organic soundscapes. Named after the pastoral poem Endymion, his former horse farm, the album reflects Greene's embrace of the wonders of reality and his desire for artistic exploration. Notes from a Quiet Life shows Greene's evolution as an artist, with self-production emphasising his distinct creative voice. Collaborations with visionary artists like Paul Trillo demonstrate Greene's commitment to pushing boundaries and incorporating new technologies. Drawing inspiration from sculpture icons like Donald Judd and Cy Twombly, Greene's album embodies a purity of vision rarely seen in modern music. Each track explores his dedication to craft and his determination. Notes from a Quiet Life is a masterful work that solidifies Washed Out's position as a pioneer in chillwave and electronic music.

Review: Suki Waterhouse's double-LP, Memoir of a Sparklemuffin, showcases her evolution as a versatile artist. Released by Sub Pop, the album captures her journey through a kaleidoscope of styles, from folky Americana to nineties alternative and indie pop. Waterhouse's emotive vocals and evocative storytelling paint vivid pictures of longing, fearlessness, and elation. Recorded during the last months of her pregnancy, Waterhouse transformed her living room into a home studio, collaborating with top musicians. Executive producer Eli Hirsch, alongside Jonathan Rado, Brad Cook, Greg Gonzalez, Rick Nowels, and Natalie Findlay and Jules Apollinaire of Ttrruuces, contributed to the album's rich sound. The album's 18 tracks revolve around the Sparklemuffin spider, symbolising metamorphosis. Singles like 'OMG,' 'Faded,' and 'My Fun' drew listeners in, while tracks like 'Supersad' and 'To Get You' explore themes of resilience and love. 'Blackout Drunk' and 'Gateway Drug' showcase Waterhouse's ability to blend catchy melodies with deep emotion. 'Model, Actress, Whatever' reflects her multifaceted identity.

Review: Natalie Mering's Weyes Blood project is 12 years deep now, and she follows up on 2019's Titanic Rising with this, her fourth studio album. Her sound evolves in kind over this time from the DIY roots of her appearances on Not Not Fun et al, and now she strikes the figure of an eternal songstress joining the dots from classic 70s composition and production through to the aching, head-fogged reflection of the modern condition. Lead single 'It's Not Just Me, It's Everybody' nails the mood of malaise, but the beauty of her songwriting leads and saves us from slipping into despair. Why not commit to the concept and cop this, the limited Loser Edition of And In The Darkness, Hearts Aglow.

Review: Like a slightly in-tune Nico from her collab with The Velvet Underground, Natalie Mering's vocals have a unique quality to them that shouldn't go unheard. There's an undeniable country music beauty to the notes and instrumentation in both tracks "A Lot's Gonna Change" and "Andromeda", with Mering hitting those high notes more like Father John Misty and Roy Orbison than Dolly Parton. It's here that it becomes obvious why she is such a trusted collaborator with Ariel Pink. Her album as Weyes Blood, "Titanic Rising", dips and dives through a sequence of emotions that from the halfway point soars like a bird in "Everyday" and the Enya-like "Movies" before making its own crescendo down again on "Picture Me Better" and "Nearer to Thee", closing the album with nostalgia-inducing tales.