Kristen Sinclair

This review originally appeared in the now-defunct altmusicbox in 2016. Source: albumoftheyear.org Throughout the late noughties and early 2010s, Rihanna followed a pattern of pretty much releasing an album a year; usually nothing ground-breaking but an arsenal of sure-fire top ten hits and big name collabs. Rated R and Loud are undisputed pop gems, but it felt like a while since Rihanna had given fans something unexpected, something she perhaps couldn’t rest assured that they’d enjoy, but instead positively devour: Anti is just that. Following a three year break – the Barbadian singer’s longest since Unapologetic in 2012 – and a label change from Def Jam to Roc Nation, Anti sees a departure from club-based tracks to a more poppy, soulful neo-R&B sound. Another notable difference from Fenty’s previous work is her more active involvement in the lyrics and production of her latest long player, recruiting an impressive roster of producers, from Timbaland to Boi-1da. 

This review originally appeared in the now-defunct altmusicbox in 2016. Source: wikipedia.org It’s no secret that women have provided many of 2016’s most exciting releases so far, and Los Angeles indie rockers Warpaint are only adding to – if not topping – that list, with their latest studio LP Heads Up . The album is the band’s third release following its members working on solo projects or collaborating with other artists, including Hot Chip and Kurt Vile. Listening to Heads Up from start to finish, the quartet’s new ethos of simplicity is beautifully apparent: “[When we] agree that we’re stoked about [a new song], we’re done. That’s a lesson we’ve learned—not to overanalyse,” vocalist and guitarist Emily Kokal told NME .  Mixing of the LA ladies’ latest studio offering began as early as January this year, and they’ve never sounded fresher, or, dare it be said, cooler. As a band known for sharing singing and instrumental duties, the wonderful mélange of summery keyboard

This review originally appeared in the now-defunct altmusicbox in 2016. Source: Stereogum I hesitate to use the term ‘girl band’ when talking about Spanish four piece Hinds (FKA Deers). You’d never hear an all-male band referred to as such, and whilst these four madrileñas are shaking up the gender politics of the garage rock scene, the fact that they are women does not override but in fact brings a unique new dynamic to their summery, ramshackle indie pop. “It’s so difficult because there are so few women in rock that people see you as a woman first, not in garage or pop or any genre… We’re gonna disappoint you as perfect women. In rock, no one is perfect,” vocalist Ana Perrote told i-D of the band’s experiences. The foursome’s hotly anticipated debut ‘Leave Me Alone’ is characterised by a jangly, upbeat sound complete with fuzzy surf pop riffs, chugging drums and delightfully dazed vocals. Formed in the Spanish capital in 2011, Perrote, Charlotta Cosials, Ade Martin an

This review originally appeared in the now-defunct altmusicbox in 2016. Source: Bandcamp By nature, so-called ‘skate music’ is difficult to define. Hard-edged punk rock may spring to mind, but a scroll through any YouTube comment section or online forum on the subject will prove the contrary. For such a niche subculture, which many associate with the likes of Sum 41, Blink-182 or The Offspring who spawned the high-tempo skate punk genre in the 1990s, modern skateboarders have branched out. So it begs the question, what do skaters really listen to? Jenkem, a specialist magazine dedicated to all things skateboarding, has compiled a collection of nineteen tracks handpicked from its readers’ suggestions in an attempt to answer exactly that. Spanning an array of styles from indie rock and electronic to instrumental hip-hop, created by artists from across the globe, Beginnings is music for skateboarders, by skateboarders. Produced by founder Ian Michna and his brother Adrian

Title: Life on Tour with Bowie – a Genius Remembered Author: Sean Mayes Source: Goodreads Publisher: Music Press Books (2016) ★★★★ I’m immediately suspicious of any kind of memoir conveniently published to cash in on a rockstar’s death. Take Mick Wall’s Lou Reed biography ‘The Life’ which appeared shortly after the musician’s passing in 2013 which, although an interesting enough read, felt insincere and rushed. This recent reissue of Fumble frontman and Bowie pianist Sean Mayes’ 1978 touring diary has been accused of the same crime; however, Mayes’ material is distinctly different. Its unbiased, genuine view of life on the road during Bowie’s Isolar II /Stage tour, post-“Heroes” and Low, is insightfully untainted by the icon's recent demise.      Mayes died from AIDs in 1995 and so never witnessed the publication of his writings; described as a “prolific” diarist by pal Kevin Cann, he has attempted to streamline the masses of raw scribbled notes i