The Listener

Nursery-level music: Sam Smith’s Gloria reviewed

Grade: D Yes, it’s porky Sam from Essex, with his body issues and his complex gender pronouns and his endless narcissistic banalities, his depthless self-importance. This is Smith’s fourth studio album in a career that seems to be nosing a little downhill, mercifully – although it will still sell by the million worldwide. He has

Gobbets of bile and hard-bitten wisdom: Iggy Pop’s Every Loser reviewed

Grade: A– James Newell Osterberg Jnr’s unexpected and unwarranted longevity on this planet has conferred upon him the status of irascible, but very loveable, grandfather of punk: it suits him just fine. A delightful contrarian in a profession otherwise staffed by vapid, guileless, liberals – Iggy actually meant it when he sang ‘I’m a Conservative’

Too neat but it has hooks aplenty: Avril Lavigne’s Love Sux reviewed

Grade: B Yay, life just gets better and better. World War Three and now this. More petulant popcorn pre-school punk in which Avril spells words stupidly and tells ‘bois’ how much she weally, weally hates them but acksherly weally loves them. This was momentarily captivating on the magnificently catty glam-rock thrash of ‘Girlfriend’ 15 years

Lovely and wistful: Neil Young and Crazy Horse’s Barn reviewed

 Grade: A I have persisted in buying everything Neil Young releases since I first heard On the Beach as a callow but pretentious 13-year-old. To tell you the truth, the past 27 years have somewhat tested this commitment. There has been a fatal laziness in the songwriting, lyrically and melodically, since 1994’s Sleeps with Angels

Truly godawful: Ed Sheeran’s =

 Grade: C= My wife’s ill with Covid and demanding inexhaustible libations and difficult meals, which she will leave uneaten. The dog thinks it deserves a walk in the filthy sleet. The kitchen is a tip and the bins need emptying. I have a headache, a runny nose and the ghost of a ticklish cough. Can

Decent dream pop: Beach House’s Once Twice Melody reviewed

Grade: B+ Everything these days devolves to prog — and not always very good prog. Where once synths were vastly expensive, difficult to master and hell to maintain they are now in a place beyond ubiquity; every sound you want conjured by the press of a key, your song suddenly washed over with sonics that