What is BEAK?
Welcome to BEAK, a publication that materialises at a moment when music criticism finds itself caught between algorithmic determinism and the dying gasps of legacy media.
As someone who's spent the better part of five years documenting Bristol's sonic mutations—from its bass-weight meditations to its post-punk provocations—I've observed how digital platforms have democratised and flattened musical discourse. BEAK emerges as a response to this contradiction, offering a space where critical rigour meets genuine curiosity.
Here, you'll find long-form criticism that refuses both the breathless hyperbole of PR copy and the cynical posturing that often masquerades as insight. Each piece—whether it's a review, interview, or cultural commentary—aims to situate music within its proper context, examining how it reflects and refracts our current moment.
Drawing from my work with publications such as Crack Magazine and METAL, BEAK will feature conversations with artists operating in experimental territories, alongside analyses of industry developments that shape how we consume and understand music. The writing here won't shy away from theoretical frameworks when they're useful, but neither will it hide behind academic obscurantism.
BEAK will uphold a commitment to music writing that respects both the intelligence of its readers and the complexity of its subject matter. If you're tired of algorithmic recommendations and fancy joining me in examining the spaces where sound meets society, culture, and politics, BEAK welcomes you with open arms.
Updates will arrive weekly, with occasional supplements when the moment demands it. Consider this an invitation to engage with music journalism that prioritises substance over speed, analysis over aggregation.
BEAK substack articles
