A compact, complex exploration of the tenancies of being a woman, that meanders playfully between Bowie-inspired glam rock and Angel Olsen's wailing country roots. MY WOMAN, in parts, is frantic and full and desperate to say something quickly, in others it is slow and soothing and incredibly tender. A Side-A and a Side-B. But it's more than just the struggles of womankind. It's about connecting, common ground and understanding.

“Not everything I do is about my struggle as a woman. It just so happens to be something I understand a little bit.”

Whilst Angel believes in feminism, MY WOMAN is not a feminist record. The idea of women comes solely from her experience as a woman. And because it's true to her, and true to the human experience, the record is entirely accessible. It's not black and white, because life, itself, is not black and white.

What strings together this vast mix of identities, sounds, ideas - connectivity. It's love and it's life and the vagueness of it all, making her narratives accessible and connecting her experiences with our own. And in that, Angel Olsen has achieved exactly what she set out to achieve. A human record. 

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​Sylvan Esso presents to the world the first look at their new 2017 sound. It's pop; infectious and bubbling, with a classic electronic heartbeat that is almost impossible not to dance along with. 'Slave to the radio' brings together all the classic, cliched elements of pop but somehow, it feels fresh. 

With this year hurtling ever so quickly towards it's end, it won't be long until the full album arrives in our headphones. Roll on 2017. 



​First cut from their impending album, 'Babes Never Die'. (They don't, at least I'm hope not). Beachy rock at it's finest, with a cutting bass sound. Let me go surfing and break hearts immediately. 



Ezra Furman, a vintage rocker in a youthful vessel dropped the EP BIG FUGITIVE LIFE today. The first cut, 'Teddy I'm Ready' is an instant classic, making me long for the EP to actually be an LP with double the songs because I simply cannot get enough.

“We dedicate this record to refugees of all kinds, all over the world,” says Furman. “May all the wanderers find the homes they seek, and and may those with power welcome them as fellow citizens of humanity.”



Edgy, moody production is the statement sound of songstress, Banks and 'Mind Games' is no exception to the rule. The third released cut of her soon-to-exist-in-the-world sophomore album, 'Mind Games' offers up Banks at her most emotional yet. 'Do you see me now?' she wails in a way that if the subject of her affections isn't paying attention, her audience sure is. 

Opening with the experimental RnB of lead single 'Fuck with myself', the bubbling sounds of 'Gemini Feed' and now the emotional cries of 'Mind Games', Banks' album The Alter is sure to be full of hits and heartbreak. 



Appearing in the Instagram feeds of the holidaying masses, The Girls is the accessory of the summer. But it's so much more than a sun-soaked prop between photos of hot-dog legs and beach scenes, it's a bleached out summer tale of the darker side of the sixties with incredible understanding of the human mind.

For a first novel, it's pretty ambitious. A story of summer haze with darkness drip-fed throughout the novel. You fall into the mundane comfort of everyday life for the main protagonist and once you're settled there Cline punctuates normality with foreshadowing of the disturbing outcome.

"My glitchy adolescent brain was desparate for casulties, for conspiricies that drenched every word, every gesture, with meaning." - Emma Cline, The Girls

Inspired by Charles Manson and his commune, Girls follows a young and self conscious preteen, Evie as she loses grip of her suburban life and meets the mesmerising and moody Suzanne. The Girl's bizarre friendship weaves a tale of power-struggles, lust and self exploration, as the ladies fall under the leadership of their beloved Russell.

The story itself is slow, really slow, perhaps illustrating the mundane nature of life and how easy it is for bizarre situations (hippy communes) to slip in, unnoticed. Patience exercised, looking back on the story feels twice as fast, with drugs, sex and crimes mapping Evie's decent into the madness- not slow or mundane in the slightest.

'Girls' is smart. At least, the publisher is smart. Wrapping the story in a promise of summer desires and adventure. 'The perfect holiday read'. This is a promise worth breaking. What lies beneath the cover is more than what's promised. A genuinely interesting and historical story, a mastery of teenage insecurities and a audience plagued with the uncomfortable feeling that every teenager is just naive enough to become the next Evie, just mysterious enough to be the next Suzanne, and perhaps just entitled enough to become the next Russell.

Worth more than the hype. Pick it up, because I said so.



I'm just a brain with a pet body, I'm just a feeling in a room, just a finger on a trigger on a friday afternoon. 

It's the same lovely Miya Folick voice and musicality and lyricism with a whole new energy. 



​Warpaint take their classic alt girl sound and add a little upbeat disco rhythm. Still cool. Still very cool. But the kind of cool you can take to the dancefloor. Warpaint's newest album 'Heads Up' is due for release 23rd of September, I'm ready now. 



With new fame, comes new friends and so the experience of life is changed forever. For some musicians, this means a sophomore slump, an album that many can't relate to. Roots become buried and anecdotes become disconnected from the average everyday. For Glass Animals, it creates something magical. A story; many stories; A plethora of intriguing characters designed to fit 'anywhere, all of the time'.

On a sticky Wednesday night in Shoreditch, Glass Animals grouped together a handful of fans to have a first listen of their new album, How to be a Human Being. (And have a few very nice glasses of a very decent red wine. Cheers, guys...)

How to be a Human Being started to form as a concept during the band's tour for their debut, 2014 album, ZABA. Dave Bayley, the creative bones of the band explained that with the touring and the after-parties and the events come the opportunity to meet more people. With more people come more stories. Realising the value in these chance meetings and moments he started to record them on the sly, and in drawing out these stories and their characters, the album was born.

The concept gives eleven characters, ten songs to tell their story. The band went to Hollywood and cast eleven actors to create the bizarre, Wes Anderson inspired, family portraits which adorn the album covers, as well as videos and individual character portraits. Which song belongs to who? You'll have to figure it out for yourself. Drummer, Joe, explains that mystery is a big part of what they want from the album.

Although the 'after-parties and after-after-parties' lifestyles feels removed from any life that I could live, the stories re-worked, woven and presented to us felt incredibly human, and incredibly accessible. Dave explains that although the stories are unique and far out, the emotions behind them are often the same and it's what connects us all, despite our differences. And after a glass of that good red, I'm inclined to go ahead and believe him.

The album is cracking. Really cracking. I found myself wishing it had been released earlier in the summer, as it really is the perfect sunshine album. Although the album has some serious LA vibes, the band agree that New Orleans, Austin and Portland had big parts to play in the album's sound and stories.

Moving on from ZABA, where they were influenced by the rainforest, Glass Animals make a slight transition into RnB. It's bassier, it's grittier and it's meaty. What remains the same, aside from Dave's breathy voice, is the band's ability to feel space. Every track feels full, no space is left empty or in silence. Once past the lead singles the album dives more heavily into RnB with each track, with the end cuts resolving into the synth heavy, indie anthems we come to expect.

The tracks that stood out to me, along with the lead singles (Life Itself and Youth), were both Mama's Gun which features drummer Joe's Dad on the flute and Agnes, which seemed emotionally poignant to the members of the band. 'It was technically the hardest to create and emotionally the hardest to create...' the guy's claimed as the audience quickly probed into what was their most and least favourite tracks (Agnes taking the award for both). Dave may have refused to tell which tracks were biographical to his life, but as I watched the band, as they listened to their album for the first time in months, there was no way he could deny it.

So what now? The album release, mystery and big ol' tour.

The album comes out on the 26th of August, with videos and websites to follow. 'Things will become clearer in time' they confess. And if I'm not any more in the know by the time they hit the Roundhouse in October, I'm totally okay with that. I'll sing along to every word regardless, because this album is bound to be on repeat. 



The seasons have swept through spring and summer, (perhaps not so much of the summer if you're in the UK) and we've found ourselves over halfway through the year. Along with the many months of less-than-average, bloody awful weather, 2016 has provided us with some above average new music. (Thank the heavens, because we're not getting any light in the world from sunshine...)

Below I have compiled a sort of (but not particularly) helpful list of female artists who have released new music in 2016. Don't say I never give you anything. We have songstresses in every sense of the word, each with an incredibly unique tone and voice.

Polica explores love and war and a whole host of sound effects, Lapsley soulfully masters the art of being a teenager, and Mitski provides the best lyric in existence - 'Happy came to visit me, he bought cookies on the way.' Christine and the Queens takes over the radio and our hearts, whilst Anohni wears their heart on their sleeve. Let's Eat Grandma? Lets have a listen to what two cracking young ladies can do. 


Until next time... Alex


The best cut from the album is the final song, Lose You. It's a sweet and emotional release from the tense building of the album that's laid out before it. The old Polica style with new tricks, dripping in production mastery. No space is left empty.


My favourite track is Cliff (above), which disperses the sombre tone with fantastical vocal effects and bubbling electronics. Pure vocal loveliness.


Opening song, opening line. Nothing more to say. ('Cracking album' might be worth saying.)


Picking a favourite Christine and the Queens song can only work when you've seen them live. Her dance moves at Glastonbury were game-changing. Half-Ladies was a winner.


The now mercury prize nominated (absolutely deserved) singer, brings fantastically political, contemporary ideas to a vintage voice. Best cut? The lead single. Picked as a single for a reason. That reason being it's beautiful.


Two youths absolutely schooling us on how to do music. The juxtaposition of innocent, sweet voices with the darker nature of their school-nightmare songs really sets these gals apart from the generation coming up and taking the reigns. Eat Shittake Mushrooms provides what could be the greatest school disco dance track to date.