Photo: Kendrick Lamar’s Facebook



To celebrate Black Friday, Kendrick Lamar and J Cole dropped gifts for fans as they swapped beats and wrote new bars for each other’s track, Kendrick taking Coles’ track ‘A Tale of 2 Citez’ from 2014 album Forest Hills Drive.

Kendrick’s four minute verse is trademark Lamar with his ferocious rapping, showing the world why he is not only one of the most instantly recognisable voices in hip hop, but also the future king of the genre.

Calling himself “Jimi Kendrix”, Lamar also puts his support behind Kanye West for his 2020 Presidential campaign with lyrics such as: “Play with him/You’re better off voting for Donald Trump/I’m yelling Mr. Kanye West for president /He probably let me get some head inside the residence/ I’m in the White House going all out/Bumping College Dropout, God bless Americans.”

A great surprise treat for fans, Lamar’s bars prove why he is dubbed the future king of hip hop – a true genius.



Regarded as paving the way for bands such as Coldplay and Keane, Travis return with the single ‘Everything at Once’. The track is a preview of the band’s new album, who have seemed to jump on the Coldplay bandwagon, have found the perfect time to have an album in the works and get pop-rock into the charts once again.

The song starts softly with synth, light drums and a groovy bass line before you’re kicked in the teeth with the chorus. As expected from any track from this genre, the song varies from a soft verse, upbeat chorus and the final build up.

It seems to be the same pop-rock formulated song over and over again, with a slightly different beat and melody. At least it will slot into place on the radio.  

MATT SMITH @MatthewJamesSmi


M.IA.’s latest release sees her tackle the issue of immigration and refugees with an equally controversial M.I.A.-esque video to match.  

Not content with just touching on the topic, she riskily plunges herself head first into the matter. A very brave move from the singer/rapper has to be applauded but unfortunately the song itself is a long way off receiving any form of handclap.

With a backing track you’d expect to hear in the Eurovision Song Contest, the content of the song just doesn’t match up to the size of the subject matter and falls way short.



For all the hype encircling Coldplay, the release of a new single has become quite a routine where the ingredients are more predictable than a Hugh Grant film. As Hugh gets the girl, Chris Martin churns out an emotive piano riff alongside some husky vocals to create yet another archetypal Coldplay track.

It’s a shame really that ‘Everglow’ is so unsurprisingly samey for Coldplay, as honestly it isn’t a bad song.

It’s a nice tune with charming emotion – the kind of slow dance track you could lose yourself in. Martin’s vocals are also safe but touching. Let’s hope this can be transferred into something not so unoriginal in the future.



Sia takes a style over substance approach on her latest single, the fluttering vocal motif here being hard to enjoy or even listen to, especially when you’re aware of her glorious voice that fails to really come through on the chorus.

The track is simply a copy and paste job of verse-chorus-verse-chorus-close – very unlike Sia, with the production doing her an absolute disservice too, although she arguably does that herself with questionable and lacking vocals.

Hopefully not a reflection of what is no doubt a build up to a new full length, ‘One Million Bullets’ falls flat and is one to avoid.



With an addictive drum beat dropping in to start the track off with the vocals beginning straight after that gets feet tapping, what else do you expect from Panic! At the Disco?

The band released four songs from their new upcoming album, Death of a Bachelor, and the songs have already got people ecstatic and already yearning for more.



1 comment

  1. This was what I actually wrote about Megadeth:

    “Megadeth have been shitting out records relentlessly for some time now, and it’s almost reached the point where nobody wants anything from the band but good old-fashioned thrashy headbangers. Although that’s loosely what the band have put out, the few fairly average riffs and decent solos do not neutralise the fact that Megadeth are still literally fronted by an old, rambling right-wing fuckjob talking vaguely about what we can assume to be ISIS.

    Without digressing into why everything Dave Mustaine believes is fucking repulsive, there’s really no reason to pretend this music has any significance besides the fact a once-great band released it.”

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s