The Musical Landfill Garden: Identifying "Industry Plants"

I finished listening to the new Billie Eilish LP a few days ago: "WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?", and I've got to say, it's probably an early ballot in contention for album of the year. The lo-fi, intimately mixed vocals heavenly bled into stripped back, lushious, instrumentation, bringing elements like percussion and bass, which one would usually take for granted, to the forefront, almost redefining why certain sounds are implemented. It's mind-altering, it's lyrically thoughtful, it's fantastic, I like it a lot.

Earl Sweatshirt’s “Some Rap Songs” and why the saddest album of 2018 made me surprisingly happy

As this year draws to a close, my views that media can give someone the greatest feelings of emotion were definitely concluded. All my favourite forms of entertainment provided me with some truly great experiences this year.

Internet rap: Punk music for millenials

During the mid-1970s, small bands and groups of friends who were very much anti-establishment had well and truly had enough of contemporary music expectations. They took on what was known as garage rock, through its raw and aggressive sound and sonic motifs during the 1960s to form what was originally associated as “proto-punk” music due to it being the first of its kind.


Why 2017's Music Landscape Wasn't All Doom and Gloom: Five Great Albums That Came Out Last Year

With 2017 finally coming to a close, music critics and fans have been compiling their year end lists based on the music that they loved and what they hated. It was a strange year for music one way or another as streaming being used as an equivalent for sales meant that the age old 'X-Factor generic factory number 1's' were nowhere near as common as they were previously.

Calum O'Shea's blog