18 Songs, 1 Hour 19 Minutes

EDITORS’ NOTES

Singer Hannah Reid is still beset by the troubling complexities of love and relationships on London Grammar’s second album. That’s good news for the rest of us because anguish and sorrow are premium fuels for a pure, versatile voice that soars and plummets with rare melancholic grace. The trio’s music remains haunted and hymnal, minimal yet efficient, softly accenting Reid’s emotion and allowing itself to rise to gorgeous, euphoric swells on the slow-burning “Hell to the Liars” and the gently blissful electro-pop of “Oh Woman Oh Man”.

EDITORS’ NOTES

Singer Hannah Reid is still beset by the troubling complexities of love and relationships on London Grammar’s second album. That’s good news for the rest of us because anguish and sorrow are premium fuels for a pure, versatile voice that soars and plummets with rare melancholic grace. The trio’s music remains haunted and hymnal, minimal yet efficient, softly accenting Reid’s emotion and allowing itself to rise to gorgeous, euphoric swells on the slow-burning “Hell to the Liars” and the gently blissful electro-pop of “Oh Woman Oh Man”.

TITLE TIME

More By London Grammar

You May Also Like