2022
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In this capsule review, we’ll be exploring a wide range of artists from hip-hop rappers to post-punk stars. There’s also some announcement to be made about plans for GutterPutter.
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The race is about to begin. It might well be one of the craziest records you’ll hear this decade. (4.9/5)
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Birthed from punk’s anti-establishment and status quo resistance, the subgenre’s LGBTQ+ representation is as fierce as it is riotous.
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The mythic American band’s latest album is rather decent for an alt-country throwback, relying on Jeff Tweedy’s songwriting to carry itself. (3.2/5)
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Falling in line with the faux comfort of lacklustre dream pop records, the concept album feels like a fuzzy chore to lose your breath to. (1.9/5)
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It’s groovy as a hip house record. However, it fails to offer a certain kick or a twist that could truly excite or reminisce. (2.8/5)
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Simply put, Elliott Smith’s third album optimises indie songwriting to favour emotive, poppy, & sophisticated perfection both lyrically & musically.
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While prog-rock is booming in the late 60s and 70s, the UK managed to concoct themselves a very jazzy & psychedelic take on it that goes beyond its birthplace.
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From the likes of Big Thief to niche names like Pan Daijing, this series of capsule reviews will continue to cover all angles of music!
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The absolute pinnacle of British chamber post-rock. (5/5)
GutterPutter 