Zayn Malik tries out a new direction with his latest introspective album

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One Direction star Zayn Malik gets vulnerable on his fourth studio album, while DIIV also serve up new music.

Zayn – Room Under the Stairs

Former One Direction member Zayn takes a new direction with Room Under The Stairs, his fourth full studio album which released on Friday May 17.

The 15-track mix takes on a newfound country change, reflecting the Bradford boy’s drastic move to Pennsylvania and ditching his R&B pop sound.

Dreamin opens the record, highlighting Zayn’s shift in genre with soft, gentle acoustic guitar sounds accompanying his usual powerful vocals – only across this album, he’s adopted a southern, American drawl.

Alienated features strong vocals, lyrics of existentialism, and a soft musical backing.

What I Am adopts husky vocals, percussive sounds and acoustic guitars, forming a country-pop track.

The record is a twist on classic country music, mixing the old and the new Zayn, through the incorporation of his classic, R&B style vocal runs on tracks like My Woman.

How It Feels uses folk-country sounds and gentle piano sounds to accompany Zayn’s poignant lyricism reflects on growing up – “I’ve been getting old standin’ by the river.”

Gates of Hell is raw and natural, much like the rest of the album.

The album is a stripped back version of the pop star; it’s different for the average fan, but its boldness is worth making the effort.

Score: 8/10

(Review by Carla Feric)

Billy Mahonie – Field Of Heads

Post-rockers Billy Mahonie return from a lengthy hiatus with an album packed with their trademark melodies and hooks.

These eight instrumentals have an energy and charm that sets the quartet apart from the sometimes daunting post-rock genre.

Opening track Atomic Clock gradually ratchets up the tension as the track proceeds on waves of guitars.

The single Kaiju starts with more urgency, the ominous synths reminiscent of a John Carpenter film soundtrack.

In contrast, Hearts Vs Minds is almost mellow, built around a nagging guitar pattern, and Spy Guy stretches out unhurriedly over nearly seven and a half minutes.

The More I Know You, Impossible Sky and Tributer all develop the album themes of intricate guitars and driving drums.

Final track Dry Season ties everything together, complex and tightly focused.

Billy Mahonie formed in 1997 and Field Of Heads is only their fifth album, recorded with the original line-up over two long weekends either side of the Covid lockdowns.

Their best since their classic 1999 debut The Big Dig, it deserves to bring them a new generation of fans.

Score: 8/10

(Review by Matthew George)

DIIV – Frog In Boiling Water

DIIV are back after almost five years – and their new album, Frog In Boiling Water, brings a matured version of the band’s grunge-rock sound.

Dissonant guitar chords open the album on In Amber, with soft vocal accompaniment.

Reflected adopts thundering bass and harsh guitar riffs; although production-heavy, the track isn’t overpowering.

Brown Paper Bag uses 1990s rock guitar sounds, taking on the classic sound of DIIV and similar bands, giving the listener a sense of familiarity.

The eighth track, Little Birds, has a fuzzy, synthetic guitar sound throughout, giving the song a dreamlike feeling; as is the same with most of the album’s songs.

Fender on the Freeway ends the album on a more uplifting note than the other tracks – a mellowed sound is created through guitars and vocal harmonies that creates a sense of isolation without being too much of a sober, dark note to wrap things up on.

The album is bleak, but good – if you aren’t a fan, it’s perfect for when you’re feeling down about the world.

If you are a fan, you’ll appreciate the striking lyricism, the experimental sounds, and the emotion that fuels the music in this ten-track mix.

Score: 7/10

(Review by Carla Feric)

Bess Atwell – Light Sleeper

The new folk-pop album from Bess Atwell, produced by Aaron Dessner who also worked on Taylor Swift’s albums including The Tortured Poets Department, has promise but isn’t groundbreaking.

Considering that Dessner has worked with legendary pop-sensation Swift, it is surprising that Atwell’s latest offering feels a little flat, especially considering that her voice stands out as distinctive, in an industry that is overpopulated with cookie-cutter vocalists.

Everyone Who’s Not In Love With You is Wrong showcases her haunting vocals at their best, accompanied by a soothing melody and acoustic guitar. It is a gentle example of all the singer has to offer, but lacks excitement.

There’s a tone of melancholy that runs through the album which has both indie influences, as well as soft pop. Fan Favourite and Light Sleeper are undoubtedly the albums standouts. So is Something Now, which  is more upbeat with a catchy rhythm that offers a glimpse of something slightly different stylistically, making a refreshing change from the rest of the album’s monotonous song selection.

Overall, Light Sleeper is a pleasing album, but is frustrating. Considering that Atwell has so much promise, it’s a shame that she hasn’t yet had the courage to break out of her comfort zone.