Mia Hughes gives her take on PA singer/songwriter Kiley Lotz’ second full-length under the Petal moniker.

Rob Mair looks back on his eighteen year relationship with The Weakerthans’ classic record.

Ryan Wilkinson on the latest offering from Spanish Love Songs.

Dan Rourke shares his thoughts on Happy Accidents’ latest power-pop outing.

“There’s an unshakeable feeling of being inside Allison’s brain throughout these songs.”

“…a complex breath of fresh air that is needed more than it’s deserved.”

T7 editor Jade Curson shares her experience with Nervus’ forthcoming second album.

Mia Hughes on one of the most anticipated releases of the year so far…

“Making do with bitter sundown,” Pianos Become The Teeth explore the deceptive nostalgia of missing what you once took for granted – even as your life improves – in their most mature album to date.

Marmozets made a dent in the landscape of British rock with their debut. How does its follow up fare?

“With Black Mile To The Surface, Manchester Orchestra have created a dramatic and highly satisfying body of work…”

By Rich Hobson Subgenres can be ridiculous. From ‘goblin metal’ (which surprisingly wasn’t made up by the NME) to ‘sadcore’, rock bands are increasingly trying their hand at self-identification. But then, who can blame them? With over five decades of releases, innovations and experimentation, no genre is quite so complex or bloated with sub-genres as rock and metal. In its perpetual […]

“If the metal genre is usually a horror movie, Devil is Fine is its Oscar-bait counterpart.”

Laetitia Tamko has found the perfect balance between the grounded and the ethereal.

“… a place where subgenres are a secondary concern to making something which kicks ten-tonnes of ass.”

“If Here And Nowhere Else saw Cloud Nothings forcibly breaking out of a monotonous routine, Life Without Sound is the band finding themselves in a fresh, more considered world, and opening themselves up to a whole new future.”