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Believe me, the absurdity of reviewing a Nirvana record in 2021 is not lost on me. And the fact that I ackowledge said absurdity does not make it any less pretentious. So then why are we raising Kurt's bones? What can yours truly possibly say that hasn't already been said about In Utero?  It's a complete sonic departure from Nevermind?  Check. It's the band's response to their success and a subsequent attempt to distance themselves from it? You know it. The answer, as with all musical landmarks, is simple. It hasn't been surpassed.  The first half mirrors that of  Nevermind  where one can find all the ''hits'' such as  Heart-Shaped Box  and the moody acoustic trip of  Dumb.  Once this record is flipped over however, the noise invades your eardrums and refuses to ever leave. This is rage, this is pain, this is Nirvana at their best and most honest. Kurt's screams are destructive, yet soothing. You hope that he's let it all out only to be s

                                                Simple is as simple does, so she’s a genius. I don’t like the bits about God. The only skit worth a giggle is the one where the kid dreamily utters ‘love…’. And she’s always functioned better as a world-beating rapper with witty rejoinders to boot than a dextrous if soul-lacking singer looking to diversify. Especially now Pras and Wyclef are off the leash.  The main difference between this and The Score is in the production; in the fine and organic beats straddling through “Lost Ones”, to the fiery pain of “I Used To Love Him”. From the sparse coos of “Nothing Even Matters” to the trickling piano coda signalling delight in the closer, it all wins. What’s here is immense, broad and clear, but she’d do well to spread the dextrous voice she sees fit to deploy only when she’s sharing the mic.  As of now we’re nearing a quarter century since Lauryn’s first and only release. As a refuge of pleasant listlessness it works. But there’s no denying

                                               Nostalgia is a funny thing. Three Days Grace's One-X  turns fifteen years old today and it falls under a very specific category of things that we once considered the best ever. The Star Wars prequels and the Sam Raimi Spider-Man  trilogy come to one's mind. Memorable and iconic, but are they particularly good? Upon revisiting this record, in its glorious limited edition white vinyl which I bought from Ukraine, I can safely say that out of those examples this one is certainly the one that has aged the best.  The 2000s were a cesspool of some really cringy post-grunge bands but 3DG were significantly above the rest in terms of their creativy and iconic leading vocals. Adam Gontier's raspy, gnarly voice and personal demons are the most defining features of this thing and they are certainly capable on pulling out some heartfelt emotions from every listener. You don't have to be an edgy teen watching Naruto vs.Sasuke AMVs on Yo

“Real hot girl shit” splashed throughout, just like the seductive mixtape and sharper EP. In this case it’s taken diligent spring listening to figure out the tour-de-force she could still be, and the apogee Good News supposedly is.  So while overall impressions fall short, it’s comforting to know that a wealth of writers and producers leave Megan’s confidence intact, and while I remain skeptical about her “fuck on your own terms to free your mind” attitude, it’s strengthened over time and scratches at a level deeper than what you’d call shock value.  Thought-provoking quote: “Baby can you tell me have you ever heard of polygamy/It’s only me and you but I got many personalities.”  Megan Thee Stallion; Good News,  3.5/5

Picture this: It’s the wildest night out of your life. Your friends are lost somewhere doing God knows what and you come out of whatever establishment you’ve spend the last 5 hours in. The cold breeze hits you immediately but you don’t feel a thing. You and someone beautiful lock eyes and exchange a smile. There’s the night bus, you have to go. Doors are closing, you are waving, you like them and you’ll never let it show. The party’s over. That is the emotion that these London geniuses convey through lead single Don’t Delete The Kisses , one of many atmospherically gut-punching pieces on this phenomenal record. It is absolutely ridiculous how many genres this thing can be put into, from dreamy shoegaze to merciless grunge, yet its biggest strengths lie in the unquestionable power of its subject matter. This is an album aimed at capturing the hopelessness of being in your 20s and the feelings that one will inevitably face in this period of their lives. Toxic relationships ( Formidab

It’s true. She writes “a lot about sexuality and gender and a little bit about politics as well”, which incidentally is what caused me to listen to Buck Up back in 2019, but with time I forsook simple listening and became hooked. Away from its aggressive tales and soulful stirrings, I was struck only by Blanton’s storytelling talent and how inescapable her efficient snatches turned out to be.  So I’m a little miffed that this could have been the follow-up it ain’t, but it starts strong and ends less well, sustained through with warmth and aplomb that rivals Buck on nuance alone. Tied together by a voice well versed in mettle, I like the pluckier cuts as is my personal taste; staying off her “shit list” altogether seems a fine idea, plus she takes a well-aimed shot at the America Trump envisioned yet failed to see. But “All My Love” and “Be Good” are ardent and slight and impactful and imbue the album with such sweetness it’s impossible to quash the merit she’s owed for sharpening her s