On The Beach is perfect for those late nights alone. Both mellow and despondent, the record features the purest of songwriting from a genuine artist.
A capacious sequel that seems confused by its own message. It neither sinks nor soars, and fails to make any sort of impact as a result.
In today’s climate of formulaic acts dominating the charts, Laura Marling continues to resist that temptation and further perfect her craft as a songwriter.
Relaxer falls together for spells, sometimes very well, but for the most part the music sounds drunk. The general impression it leaves is inelegant and sloppy.
Channeling the sounds of Bob Dylan, Simon & Garfunkel, and more, Elliott Smith's words still cut deep, as darkly precious now as they've ever been.
Dylan sings and we listen, the instrumentation hanging on his every word along with the rest of us. The album is an expressive, beautiful, and timeless classic.
Artists can and should explore different plains, but Ruins sounds safe rather than bold. It sounds like Americana recorded in an air-conditioned studio.
Neither immersive nor memorable. Any time the group stumbles onto a passable bass line or melody they run it into the ground in a slow-motion indie panic.
The most miserable man in comedy has five favourite albums from everyone's least favourite decade. We explore Stewart Lee's highlights of the '80s.
Thomas Ashby is a singer/songwriter from Herne Bay. We discuss living together during the time he recorded and released his third EP - 'Backlash'.