Album Review: Julien Baker ‘Little Oblivions’
“Mining the depths of her own hurt and regret as she does, singer-songwriter Julien Baker has positioned herself as something of a modern scholar on the second chance.”
Rhys Handley
Album Review: Taylor Swift ‘Evermore’
“There’s a casualness and a sense of play to ‘Evermore’ that softens its edges and indicates an artist settling into her groove.”
Review: Massoud Bakhshi’s ‘Yalda, a Night for Forgiveness’
“‘Yalda’ shows itself to be a deft treatise on how the contradictions of our modern world complicate something even as simple as saying sorry.”
London Film Festival Review: Steve McQueen’s ‘Lovers Rock’
“‘Lovers Rock’ becomes something truly special whenever all sense of plot and character falls away entirely.”
London Film Festival Review: Francis Lee’s ‘Ammonite’
“Lee has, over his two films so far, proven a dab hand at teasing out unexpressed, furtive desires, depicting both the visceral emotions and gritty physicality of same-sex romance with empathy and an understated artistic flair.”
Album Review: Jónsi ‘Shiver’
“While Cook clearly has his hands on deck operating the machinery, the closing tracks make clear that it’s still Jónsi steering the ship, as impish and wholeheartedly earnest as ever.”
Album Review: Hurts ‘Faith’
“‘Faith’ is too misguided and confused to be an actively cynical undertaking, but its desperate rush to the lowest common denominator in a bid for the broadest appeal is still nakedly apparent.”
EP Review: BUMPER ‘Pop Songs 2020’
“‘Pop Songs 2020’ is not a disposable work, but neither is it especially serious. It’s light, punchy and brief — a condensed showcase of its creators’ formidable pop songwriting craft.”
Album Review: Angel Olsen ‘Whole New Mess’
“Olsen may have crept back into her shell, but, on ‘Whole New Mess,’ there’s finally enough space for her to invite listeners inside.”
Album Review: Bright Eyes ‘Down in the Weeds, Where the World Once Was’
“After a rough decade out in the wild, Oberst is home and doing what he knows best.”
