3.5 stars Early this year, following four years of relentless touring, Oxford-based indie quartet, Foals, teased that they had a new album ready. This was not to be any ordinary album, however, as they had recorded simply too much material for one record, meaning it would have to be
No, we don’t have anything from Tranquility Base Hotel + Casino.
Foals’ first record in four years sees them exploring new musical territory, but not without that familar Foals feel.With part 2 primed for release in September, it’s set to be a good year.
How Brian Eno’s solo debut Here Come the Warm Jets cemented his legacy as one of music’s most unconventional yet influential figures.
Things are hotting up in the Science Museum. This dazzling and interactive exhibition takes us through the history of humanity’s relationship with our star, and features several contributions from Imperial College.
It was, as it very often is, a turbulent summer for music. In this, the first edition of the new academic year, our music editors take you through some of their personal highlights (and lowlights) of the past few months’ releases.
Hello and welcome to, what is objectively, the best section of Felix. We shall be your editors for this evening.
This article started life as a thinkpiece. It then became a listicle, before reverting back to thinkpiece. Whatever form it now takes, it’s my final article of the year so you’d better bloody enjoy it.
David Byrne returns after a long hiatus, but his effort is a bit too twee.
It’s been a while since I wrote a proper review. This isn’t a proper review. Though really, they seldom are. I’ve listened to this album twice. Once yesterday while I was working, and once more this morning as I walked through the snow into the Felix office.
There are tragically few art-rock bands with a dedicated oboist.
Always ones to be ambitious and experimental, Marble Skies sees the electro-rock outfit trying their hands at a variety of new styles. The result is an eclectic jumble that oozes colour.
