BØRNS Shares New Song “Sweet Dreams” – Listen

From BØRNS forthcoming sophomore album, out Jan 2018

BØRNS has shared a new song, called “Sweet Dreams”. Listen to the new song below. The promotional single follows “Faded Heart”, the debut single from BØRNS forthcoming sophomore album (released via Interscope Records). The track is produced by long-time collaborator Tommy English, and mixed by Tony Maserati, who has previously worked with the likes of Lady Gaga, Beyoncé and James Brown.

BØRNS has also announced a new European tour. After playing Lollapalooza Festival, Coachella Valley Music and Arts Festival and a series of shows in the United States, the Michigan-born singer-songwriter will head to London at the beginning of November before travelling across the continent towards the end of the month. Tickets for his show at London’s Scala are on sale now. Check out BØRNS’ upcoming tour dates below:





15 Scala – London, UK

16 Q Factory – Amsterdam, NE

18 Ideal Bar (Vega) – København, DE

19 Debasser Strand – Stockholm, SW

21 Lido – Berlin, GE

23 Botanique – Brussels, BE

24 Les Etoiles – Paris, FR


Written and published by James Macdonald.


Taylor Swift Shares New Song “…Ready For It?” – Listen

From Taylor Swift’s forthcoming record Reputation, out Nov 10

Taylor Swift has shared the full version of her new song, “…Ready For It?”. The 1989 songstress originally previewed the track during a college football broadcast between Alabama vs. Florida State on Saturday. Listen to the new song below. The promotional single follows “Look What You Made Me Do”, the debut single from Swift’s forthcoming album Reputation. The accompanying Joseph Khan-directed music video, which premiered at the 2017 MTV Video Music Awards, broke YouTube’s record for most views in a 24 hour period – a record previously held by Adele’s “Hello”.  Reputation is released November 10th via Big Machine Records. Swift’s last album, the Grammy-winning 1989, came out in 2014.


Written and published by James Macdonald.

Anna of the North Share New Video For “Someone” – Watch

From Anna of the North’s forthcoming record Lovers, out Sep 8

Norwegian-Kiwi duo Anna of the North have shared a new video for “Someone”, the second single taken from their forthcoming debut album Lovers (released September 8th via Different Recordings). Directed by Anna Lotterud & Russell Crank, the Miami-based video focuses on the heartache, the guilt and the psychosomatic struggle of the morning after.

Anna explains “It’s a video made in Miami but it’s certainly not a stereotypical Miami video. The ‘party’ side to cities like Miami can feel vacuous, making them the loneliest places in the world. It’s about the internal battle of the day after; trying to accept that you’re human and how hard it is to forgive yourself for your own mistakes. It gets more desperate throughout as the realization sets in”. Watch the video below:

Anna of the North have also announced a new European tour. After playing Pukkelpop Festival, Maroochy Music & Visual Arts Festival and a series of shows in Australia, the Scandi-synthpoppers will head to London at the end of September before travelling across the continent in October and November. Tickets for their show at London’s Omeara and Bestival are on sale now.

Check out Anna of the North’s upcoming tour dates below:





10 Stay Out West, SW

18 Pukkelpop Festival, BE

23 Hudson Ballroom – Sydney, AU

24 Northcote Social Club – Melbourne, AU

26 Maroochy Music & Vis Arts Festival, AU



09 Bestival, UK

26 Omeara – London, UK



12 Obaren, Stockholm, SW

13 Vega Ideal Bar, Copenhagen, DK

14 Häkken, Hamburg, DE

16 Auster Club, Berlin, DE

18 Sugarfactory ADE Live, Amsterdam, NL

19 Yuca, Cologne, DE

20 Pop Up du Label, Paris, FR



09 Parkteateret – Oslo, NO

10 Det Akademiske Kvarter – Bergen, NO


Written by James Macdonald.

Bleachers Announce New Album Gone Now, Share Video For New Song “Don’t Take The Money”

Jack Antonoff’s forthcoming sophomore album is out June 2

Bleachers have announced a new album, called Gone Now. The follow-up to 2014’s Strange Desire is released June 2nd via RCA Records.

Jack Antonoff unveiled the Gone Now cover art via Instagram, alongside a caption detailing the full track list. The album includes promotional singles “Don’t Take The Money”, which was written with Lorde, and “Hate That You Know Me”, featuring guest vocals from Carly-Rae Jepsen.

After revealing Gone Now’s cover and tracklisting, Antonoff wrote about the album in a series of tweets:

Gone Now is work I’ve been making for the past 2 years in a small studio I built in my apartment. It was very important to me to be alone in my home space where I could not escape the weight of my life and what I needed to write about. Everything at home can be terrifying in a way. Everything was there looking at you in your best and worst moments. All the walls. The album sounds exactly what it was – someone alone in a room trying to make sense of loss and how to move on. There is also an amazing cast of friends and idols who pop in for moments or send me things”.

The singer also shared a new Lena Dunham-directed video for “Don’t Take the Money”, which features a cameo from Alia Shawkat (Arrested Development), who presides over Antonoff’s candy-coated wedding ceremony. Watch the video below:

Last month, Jack Antonoff and Bleachers performed an original score of John Hughes’ classic 1985 film The Breakfast Club in Los Angeles. He is currently taking his childhood bedroom on tour.

Check out Bleachers’ upcoming fall tour dates below:




06-02 New York, NY – Governor’s Ball

06-11 Philadelphia, PA – Radio 104.5 Birthday Celebration at BB&T Pavilion

06-13 Richmond, VA – The National *

06-14 Charlotte, NC – The Underground *

06-16 Columbus, OH – Express Live! *&

06-18 Dover, DE – Firefly Music Festival

06-20 Cambridge, MA – The Sinclair *

06-21 Rochester, NY – Anthology *

06-23 Baltimore, MD – Rams Head Live! *

06-25 Detroit, MI – St. Andrews Hall

06-27 Indianapolis, IN – Deluxe @ Old National Center *

06-28 St. Louis, MO – Delmar Hall *

06-30 Kansas City, MO – Kansas City Live! *

07-01 Milwuakee, WI – Summerfest

07-02 Minneapolis, MN – Cabooze Outdoor Plaza

07-05 London, Englad – Bush Hall

08-11-13 San Francisco, CA – Outside Lands

09-12 Asheville, NC – The Orange Peel ~

09-13 Nashville, TN – Marathon Music Works ~

09-15 Atlanta, GA – Center Stage ~

09-16 St. Petersburg, FL – Jannus Live ~

09-17 Orlando, FL – The Beacham Theater ~

09-19 Austin, TX – Emo’s ~

09-20 Dallas, TX – House of Blues ~

09-22 Phoenix, AZ – ALT AZ Dia De Los ALT

09-23 Las Vegas, NV – Las Vegas Village

09-26 Los Angeles, CA – The Fonda Theatre

09-27 San Diego, CA – The Observatory North Park


* with MUNA

& with MisterWives

~ with Tove Styrke


Written and published by James Macdonald.

Haim Announce New Album Something To Tell You, Share Video For New Song “Right Now”

Paul Thomas Anderson directs Haim’s first video from their sophomore album

Haim have announced their long-awaited second album. Something To Tell You, the follow-up to 2013’s Days Are Gone, is released July 7th via Polydor Records. The band have confirmed that the album was produced by Ariel Rechtshaid and former Vampire Weekend member, Rostam Batamanglij.

Haim also shared a live studio recorded video of their new song “Right Now” – directed by Oscar-nominated filmmaker Paul Thomas Anderson (There Will Be Blood, Boogie Nights, Magnolia). Watch the video below:

In an exclusive Beats 1 Radio interview with Zane Lowe, the Haim sisters spoke about their family’s history with Anderson; revealing the unlikely story of how their Mother came to be his school teacher:

“My mom was studying to be a teacher and to get your credential as a teacher you have to shadow another teacher and get your hours in. My mom gets a gig teaching credential gig at a school in the Valley. First twist: My mom is shadowing the teacher at the school. First week, the teacher has a heart attack in the in the parking lot of the school and my mom becomes the sole art teacher at this school. In one week. My mom was younger than me, like 22/23, and she now has 5 or 6 classes of kids that she now is the teacher for. She would always talk about this one kid named Paul. That she loved this kid Paul, he was very energetic, artistic, vivacious. We’d turn the TV on and Boogie Nights would come on or Magnolia and our mom was like, ‘oh that’s Paul’s movie.’ That being Paul Thomas Anderson. We were like, Mom are you talking about Paul Thomas Anderson? And she was like, ‘Yes that is Paul, I taught Paul’”. 

Last month, Haim teased their new music by plastering mysterious billboards around London, Berlin, Sydney, and Los Angeles and sharing several short trailers in which Danielle Haim plays drums.

Meanwhile, the sibling trio are scheduled to perform on “SNL” next week (hosted by Melissa McCarthy) and play Reading and Leeds Festival in August.

Written and published by James Macdonald.

Gorillaz Share Saturnz Barz (Spirit House), Ascension, Andromeda & We Got The Power – Track-By-Track Review

Gorillaz have debuted four new singles, titled ‘Saturnz Barz (Spirit House)’, ‘Ascension’, ‘Andromeda’ & ‘We Got The Power’, taken from their forthcoming studio album, Humans (out April 28th via Parlophone Records). The four new tracks feature guest appearances from Vince Staples, Popcaan, D.R.A.M. and Savages’ Jehnny Beth, and signal a step toward a more mainstream sound. Read my track-by-track review below.

Saturnz Barz (Spirit House)

Unlike ‘Hallelujah Money’, the avant-garde, socio-political slowburner featuring Mercury Prize Winner Benjamin Clementine, ‘Saturnz Barz (Spirit House)’ is a hallucinogenic reggaeton groove, replete with swinging trip-hop skitters and auto-tuned patois from Jamaican dancehall prodigy Popcaan — Gorillaz most experimental song since ‘Dirty Harry’.


If ‘Saturnz Barz (Spirit House)’ depicted a juiced up joyride of spacy atmospherics, singing pizzas and a stark-naked Murdoc Niccals, ‘Ascension’ is its jaded counterpart. Vince Staples supersonic acid-raps bounce like a spring-loaded trampoline; somersaulting between spasmodic synth tones and screaming police klaxons. He quips “The sky’s falling baby, drop that ass before it crash, the land of the free, where you can get a glock and gram for the cheap” – delivering a rap masterclass which is both politically aware and socially mindful.

We Got The Power

‘We Got The Power’, featuring Savages frontwoman Jehnny Beth and former Oasis guitarist Noel Gallagher, is a scattergun-pop tour de force turn call to arms which promotes togetherness and political change. Punctuated by gospel-punk chorales, Beth’s megaphone-muffled motifs of “We got the power to be loving each other no matter what happens” are personal, yet empowering – strutting, striding and skipping in the face of adversity.


‘Andromeda’ is an endorphin-fueled disco number which channels the electronic stylings of Plastic Beach’s ‘Stylo’ with the 70s dance of Earth, Wind and Fire: a certified boogie bonanza. D.R.A.M’s barrel-chested baritone and syrupy shrills add a soulful finesse to Albarn’s vocals, as he harmonises “When the passing looks to die for, Take it in your heart now lover” – donning a cartoonish sheen to match Hewlett’s artwork.


Written and published by James Macdonald.

Prides share slick, shuffling synthbop “Away With The Night”

After releasing a successful string of exemplary pop gems last year, including ‘Rome’ and ‘Are You Ready?’, the Scottish synthpoppers have returned with shimmering new single ‘Away With The Night’ – taken from their forthcoming second album (expected to be released later this year via Twin Music Inc).

‘Away With The Night’ serves a fruitful slice of 80s pop nostalgia, skyrocketing with spiralling synth tones and stuttering vocal melodies reminiscent of electropop newcomer Elohim. While sonically upbeat and positively cinematic, the Glaswegians’ latest single is a tortured torch song directed at another performer, as Stewart explains: “Lyrically it’s a track I wrote as a response to a certain someone, who put a lot of expectation onto what/where we were, and ended up writing a song about me. This is my version of events.”

Listen to ‘Away With The Night’ here:

Prides have also announced a series of UK tour dates taking place in March and May. The duo will perform at The Flapper in Birmingham on 20th March before travelling to London, Manchester, Edinburgh and Aberdeen.

Prides upcoming tour dates are listed below:


20 Birmingham, The Flapper

21 London, Scala

22 Manchester, The Ruby Lounge


12 Edinburgh, Liquid Room

13 Aberdeen, The Lemon Tree

Childish Gambino Releases Neo-Funk Ballad, “Redbone” – Listen

A pop culture polymath, a Rolling Stone cover star, a rap game Ferris Bueller; Donald Glover has undergone several mind-altering metamorphoses throughout his career. Not only has the Los Angeleno rewritten the rule book on acid rap under pseudonym Childish Gambino: the brainchild behind 2013’s Grammy-nominated album Because of the Internet – comprising viral superhits “Sweatpants” and “3005”; but 2016 has witnessed the Community starlet gain a notorious reputation as one of Hollywood’s leading actors and screenwriters.

With Glover’s critically-acclaimed TV series Atlanta – delivering fun and epigrammatic humour in equal measures – being commissioned for a second season; and Disney Lucasfilm casting the actor as a young Lando Calrissian in the Star Wars franchise’s upcoming Han Solo Anthology (set to be released in 2018), the multi-talented polyglot has catapulted himself to the highest zenith of stardom.

Childish Gambino alludes to his recent success on his latest single “Redbone”; a musical aphrodisiac taken from the upcoming third studio album Awaken, My Love – released Dec 2 via Glassnote Records: The second taste of new music from the artist since 2014’s dual mixtape Kauai/STN MTN.

“Redbone” is a sultry slow jam which parses infatuation, decades of empyrean soul, and socio-political consciousness. Delivering a myriad of slap-bass punctuations and feminine vocal charms reminiscent of Prince’s Camille, “Redbone” enacts as a perfect serenade, potent enough to sedate any listener. Gambino squeals “Daylight, I wake up feeling like you won’t play right, I used to know, but now that shit don’t feel right” as he yearns for the affections of an unrequited love – showcasing his most amorous vocal performance to date. Although the composition appears minimal throughout, its sombre production continually morphs and meanders, before spiralling uncontrollably into a funk firebomb, exploding with palpitating synth chords, nocturnal piano keys, and atmospheric tones.

Listen to ‘Redbone’ below:


Written and published by James Macdonald.

John Mayer Shares Funkalicious New Single, “Love on the Weekend” – Listen

‘Love on the Weekend’ is the first song to be premiered from John Mayer’s forthcoming album, The Search for Everything.

John Mayer has debuted a new single titled ‘Love on the Weekend’, taken from his upcoming album The Search for Everything – which is expected to be released next year via Columbia Records.

Mayer initially teased the release of ‘Love on the Weekend’ on social media last week, posting the single’s tropic cover art alongside a fluorescent pink image dated ‘11/17’ to his Instagram account.

The singer-songwriter also uploaded a short video of an electric guitar solo from the record; more hair-raising than a static ball -signalling the artist’s long-awaited return to pop music.


A post shared by johnmayer (@johnmayer) on

Took a pass of a solo just for you… now on to the one for the record. ⚡️

A post shared by johnmayer (@johnmayer) on


Whilst Mayer has been hinting at a new album for several months, ‘Love on the Weekend’ is the first taste of new music from the Grammy-winning singer since 2013’s Don Was-produced Paradise Valley. However, unlike the folk-americana stylings of Mayer’s last album, ‘Love on the Weekend’ is a p-funk supernova which effortlessly blends the contemporary pop nuances of Continuum with the musicianship of the Grateful Dead – a sound which can only be described as explosively ear-popping as Wonka candy.

Listen to ‘Love on the Weekend’ below:

Watch John Mayer’s Facebook live premiere of ‘Love on the Weekend’ here:


During an Entertainment Tonight interview with the John Mayer Trio, at the 15th Annual Jazz Foundation of America Gala benefiting senior jazz and blues musicians last month, the Trio’s drummer, Steve Jordan, accidentally revealed the name of the upcoming album:

“The last time when we first came together for tsunami relief we were starting the Continuum album, and so now we’re doing this relief and it’s in the middle of, or finishing John’s newest album, The Search for Everything,” Jordan explained. “Actually that’s the first time…. Steve has announced the record now twice, the name of the record twice, and I have not told anybody,” Mayer said.

Watch the full Entertainment Tonight exclusive here:


Written and published by James Macdonald.

OneRepublic “Oh My My” Album Review: Amorphic Playlist Pop

OneRepublic deliver contemporary pop euphoria fit for radioplay on their stereo-syncopating fifth album, Oh My My.

OneRepublic’s multitalented frontman Ryan Tedder has an impeccable songwriting resume. Collaborating with a cadre of elite superstars, including Commercially-clouting Adele, American Sweetheart Taylor Swift and Bigtime Britpopper Ellie Goulding, Tedder has certified his status as a household name in mainstream music; garnering a reputation as one of the most universally-recognised hitmakers of the past decade. Aside from an incessant list of star-studded songwriting credits, Tedder is also an exceedingly talented vocalist – boasting a flawless falsetto that oozes ambits of emotion, and a multifarious vocal range which showcases a heartening balance of the ethereal and earthly – as heard on the jouissance jaunts of platinum-selling singles, ‘Counting Stars’, ‘Love Runs Out’ and ‘Something I Need’. Therefore, it’s surprising that, despite penning a monopoly of Billboard 100 songs throughout the noughties – comprising Leona Lewis’ ‘Bleeding Love’, Beyonce’s ‘Halo’ and Kelly Clarkson’s ‘Already Gone’; that the brainchild behind OneRepublic and Native’s cornucopia of successful singles and album downloads has only managed to secure one platinum-charting album to date.

So how does Ryan Tedder’s encyclopedic knowledge of songwriting and studio experience transcend onto OneRepublic’s latest album, Oh My My?

Unlike the canorous country bop of 2013’s Natives, Oh My My explores a rich lexicon of music genres, ranging from metropopolis and neo-funk, to RnB and deep discofox. Besides adopting a new musical direction stylistically, OneRepublic welcome a refreshing change-of-pace on production, exchanging the failsafe formula of slow-burning countrified pop with polished party anthems containing more ammunition than a semi-automatic machine gun: If 2013’s Natives was an independent art house film without government funding, Oh My My is a critically acclaimed blockbuster with bigger budgets, higher production costs and an airbrushed cast.

This is showcased in the form of superlative lead single ‘Wherever I Go’; a pulsating K-pop leaning powerhouse as proverbially palpitating as hentai porn. Intertwined with anime-styled percussion and speech modifications – reminisinent of Miike Snow’s central tour-de-force ‘Genghis Khan’, Wherever I Go’s multi-layered instrumentation and protuberant production is as binge-worthy as a boxset of Netflix original series. However, the songwriting often feels forced and contrived, as Ryan Tedder consumes a veritable syllabus worth of candy pop samples and cultural references in a desperate attempt to sound trendy and current.

Although Tedder’s failed attempt at appealing to a younger audience is arguably a metaphorical car crash, Oh My My is brimming full of catchy choruses and awe-inspiring melodies. In a recent interview with NPR Magazine, Tedder explains “Melody is the single most important thing to any song, period. I don’t care what anybody says, it trumps everything. Not because that’s my opinion, but because I think it’s actually indisputable fact: The human brain retains melody easier than it retains words. It’s that simple.”  This instinctive sixth-sense of conceiving melody thoroughly transpires onto the album’s title track, Oh My My. If 2010’s Timberland-produced jam ‘Apologise’ was an earworm, Oh My My’s brass-studded, speaker-quaking potpourri of early Motown influences and Cassius’ Eurovision disco gleams are a figment of Bruno Mars’ wet dreams. The production is lively and vivacious: think Macklemore’s ‘Downtown’ on anabolic aids. From the French Duo’s appetizing keytar chirrups to Tedder’s icy falsetto runs; ‘Oh My My’ possesses the charismatic charm of Pharrell William’s ‘Happy’ and the danceability of Daft Punk’s ‘Get Lucky’ – a deadly combination.

Oh My My is also packed with dystopian tales as futuristic as Daft Punk’s robotic helmets. Have you ever seen Spike Jonze’s Oscar-winning biopic Her; a film about a lonely writer who kindles an unlikely intimate relationship with an operating system? ‘A.I’ is essentially the musical adaption of this premise, replacing actors Joaquin Phoenix and Scarlett Johansson with musicians Ryan Tedder and infamous 80s prodigy Peter Gabriel, as it questions our over obsession with multimedia technologies; specifically modern romance and it’s online-augmented, match-making, tinder-swiping dating culture – coalescing the feeling of intimacy in the internet age with fears of technological paranoia. With its Westworld-inspired robotic romps and Tron-esque vocal manipulations, A.I’s glitchy 8-bit production feels sonically cohesive, yet characteristically playful; as Tedder’s myriad of retro soundscapes effortlessly replicate the timeless euphoria of first-gen console soundtracks, such as Sonic the Hedgehog and Super Mario World. Additionally, ‘A.I’ showcases the Ohio born singer’s most poetic wordplay and thought-provoking lyricism in years. With the Syco singer chanting “Yeah I just want my love automatic, if artificial love makes sense, I just want your love, I’m an addict, Artificial intelligence” and Peter Gabriel’s haunting beautiful choral harmonies doubling up on the bridge: “Just automatic hurt, Bring me back tonight, Cause you’re intelligent” – Tedder delivers a collection of quotable lines and technical analogies as memorable as John Badham’s 1986 Sci-Fi classic, Short Circuit. However, similarly to the motion picture’s beloved protagonist Johnny-Five, ‘A.I’ short circuits from its inability to establish an distinctive sonic identity of its own, as Ryan Tedder’s voice sounds anodyne and anonymous, resulting in a vocal performance as unengaging despondent as Windows 98’s dial up connection.

Oh My My is not only filmic in terms of its lyricism, but the emotional aesthetic it evokes.  Remember the diaphanous cinematography of The Perks of Being a Wallflowers closing sequence, where the trio drive through Fort Pitt Tunnel, windows down, listening to Bowie’s ‘Heroes’;  as the camera pans to a windswept Sam standing with her arm’s aloft; feeling the breeze running through her fingertips, being overdubbed with Charlie narrating a heartfelt monologue about being infinite? ‘Kids’ perfectly encapsulates the halcyon days of being young and feeling liberated. With a plethora of pulsating Bronski beats – channelling Nick Jonas’ ‘Famous’ – overlapping Tedder’s rhapsodic vocal rhymes, ‘Kids’ is big enough to dominate the Top 40 Charts and bold enough to inspire a generation.

‘NbHd’ sees Tedder collaborate with South coast songstress Santigold to pen pulp-novel-esque lyrical vignettes of big city dreaming – as the frontman leaves the outskirts of Ohio, his hometown, for the wide-eyed crepuscular canvas of Hollywood Boulevard; providing the album with, if not a rectilinear narrative, then a recurring notion of emotional detachment. Although ‘NbHd’ is thematically strong, is imposes the question of what a more distinctive singer could have achieved with its dark and ominous instrumental – picture the cracking of John Newman baritone or the husk of Rag‘N’Bone Man on vocals.

In an article with Wonderland Magazine, Tedder talks about his musical childhood and religious background, stating that “his father was a gospel songwriter in the Seventies with an endless knowledge of the hits. ‘He could tell you the top records on the chart at any given point in time for basically all the Eighties and Nineties’”. These gospel roots can be heard on ‘Choke’; a sumptuous acoustic ballad about family and cherishing past memories. With his passionate outcries of “I’ll keep a picture of you one the wall, of you on the wall, And choke on the memories”, and summery guitar twangs – channelling the beach vibes of Frank Ocean’s ‘Self Control’, ‘Choke’ sounds as uplifting as it is eternally optimistic – a certified fan favourite.

Another album highlight is gospel-inspired ‘Human’; a fast-tempo floor-filler that recounts a spiritual conversation between Ryan Tedder and God. He preaches “Told him that I’m sorry I lost communication, But I just, I just needed some holiness, I said that the things that I’ve been trying end up in frustration, Life ain’t what it seems in any situation”, questioning his relationship with his own religious beliefs as he searches for self-enlightenment – Tedder’s most autobiographical song since ‘Stop and Stare’. From the track’s adrenalin-fuelled EDM embellishments to concretely-crumbling crescendos as powerful as an industrial drill, ‘Human’ is raw and authentic – a faultless track.

However, Oh My My isn’t completely without its flaws. ‘Lets Hurt Tonight’, ‘Fingertips’ and ‘The Future Looks Good’ all sound as painfully generic and malleable as an X Factor winning single. Whereas ‘Dreams’, ‘Born’ and ‘Heaven’ are so formulaic, One Republic could almost be mistaken as a Maroon 5 covers band.

In conclusion, although One Republic’s latest album is evanescent, fun and full of life; woven with honey-eared melodies and Tedder’s signature staccatos, the band are ultimately hindered by their inability to produce pop music which sounds characteristically recognisable, as Oh My My features a collection of songs which resemble a Spotify playlist on shuffle rather than a fully conceptualised body of work.




Written and published by James Macdonald.