Pop Will Eat Itself deserve to be more celebrated. The Stourbridge outfit were one of the first 1980s bands to realise the potential of smashing punky indie-rockin’ into hip hop and electronic dance.
Doja Cat is a fascinating one-off. She’s a rap-centric Californian artist whose background dips into everything from new age philosophy to skate culture. She’s the epitome of a 2020s singer who’s as much a social media phenomenon as a pop star (and has also been featured artist on tunes by almost everyone).
For the past decade, the Ohio alternative superstars Twenty One Pilots have cultivated a deep lore starting with 2015’s Blurryface, and continued through the subsequent albums of 2018’s Trench, 2021’s Scaled and Icy, and seemingly concluded with last year’s Clancy. Yet the duo of Tyler Joseph (vocals) and Josh Dun (drums) left proceedings on a cliffhanger.
For Nova Twins, the alternative rock/metal duo of Amy Love and Georgia South, the years since 2020 have been a non-stop journey of evolution. Exploding from the independent UK rock scene, to sharing the stage with headline names like Bring Me The Horizon; attention has come very quickly for the now twice BRIT nominated duo.
The more time goes by, the more it seems like Dev Hynes might be the antidote to what Guy Debord called “the society of the spectacle”. As is documented in the fantastic recent book Songs in the Key of MP3, Hynes is representative of a type of modern musician whose relationships to mainstream and underground, art and pop, just don’t make sense in the traditional “star” framework of the post rock’n’roll era.
The long, hot summer of 2025 has been something else, right? Hate rallies, creeping authoritarianism, a weird reluctance to discuss the extremity of the weather even as everyone scrambles to buy air conditioners...
But also a slightly delirious sense of fun as people get out and about in the sun – exemplified by the eruptions of joy of DJ AG’s spontaneous pavement sets featuring unknowns and megastars, broadcast online as a super-democratic antidote to all those videos of DJs alone or surrounded by too-cool-for-school party people.
MONDAY 30th JUNE 2025
“I think you’d better drive,” says Finetime, his face sallow, skull-sockets underscored by dark brown rings. He looks peaky.
“Why?” I enquire. Sweat nodules down my face, my body, everywhere. So saline-intense it leaves powdery white steaks.
“My eyes,” he replies, “They’re wobbling about.”
We pull over in Cannards Grave, a Somerset hamlet named for a thieving 17th century publican hanged here. Every third car passing contains battered detritus from the annual Worthy Farm pilgrimage.
One of the great untold stories of the past decade is just how potent a cultural force R&B has been. It might not have had the wild musical innovation it did in the 2000s when the likes of Neptunes, Missy Elliot, Timbaland and Rodney Jerkins reigned supreme as producers – but through the 2010s and ‘20s, it has established a whole set of performers who are able to exhibit extreme range in subject matter, style and seriousness, held together with force of artistic personality.
Little Simz clearly believes in meeting situations head on. Her sixth full-length album kicks off, in every sense of the phrase, with “Thief”: unambiguously a lyrical barrage at her childhood friend and frequent collaborator Inflo, who Simz is currently suing for alleged failure to repay £1.7 million in loans for ambitious recording and performance projects.
Morcheeba reach their 30th anniversary this year. The 1990s band, a unit once synonymous with phrases such as “trip hop” and “chill-out”, are up to album number 11. Their multi-million-selling oeuvre is based around a hazy combination of low-slung hip hop beats, stoned electronic atmospherics, spacey, slightly John Barry wah-wah guitar, and the luxurious voice of frontwoman Skye Edwards.