Thomas Hobbs

"I mean, life ain't about whether you win or lose a fight. Life is about what you do after the fight. That’s what I’m all about."

From the UK’s Slowthai to JPEGMAFIA and Rico Nasty in the US, a thrilling hip-hop punk hybrid sound is stirring young people into an absolute frenzy, writes Thomas Hobbs.

"Seeing this record’s bold songs performed live at the Royal Albert Hall wasn’t only a validation of the East Ham rap veteran’s worldview, but also for grime itself."

He gained a reputation as a pill-popper living life to the extreme, but with his new album U Know What I’m Sayin?, the Detroit rapper says that he’s living his best life.

While his captions weren’t up to much, the prince’s takeover of the National Geographic’s Instagram on his tour in Africa had a larger purpose.

Robert Englund and Heather Langenkamp reflects on their iconic roles as the evil Freddy Krueger and heroine Nancy Thompson in legendary director Wes Craven's horror classic A Nightmare on Elm Street.

"Even if he never releases another song or album, Tekashi 6in9ine has already secured his place as one of the most controversial figures in hip-hop history."

Before Instagram existed, Tyler and his crew built their own aesthetic universe, inviting fans along for the wild ride. The music industry watched closely.

A feature I wrote for the September print edition of DIY Magazine on Slowthai's stunning debut.

"There was always crime going on and I saw friends get lost in the system, whether that was getting arrested or dying. I didn’t want to be another number, I wanted to be a rock star instead; even if the teachers probably didn’t believe it was possible!”

Cerebral horror movies like Us, Midsommar and The Witch have thrived both critically and commercially in recent years. Thomas Hobbs speaks to a selection of contemporary horror filmmakers to try to understand why intelligent horror, which goes well beyond terrifying psychos in ski masks, is succeeding in 2019...

In this new series, Thomas Hobbs speaks to different musicians about their favourite film scores. First up, Cliff Martinez discusses Ennio Morricone’s For a Few Dollars More score.

"Missy has more than earned the right to do whatever she wants, but the music here, which is primarily designed to take us on a trip down memory lane rather than innovate, feels like a missed opportunity from one of rap’s biggest risk-takers."

"For the Chicago band, the traumatic coming-of-age moments we all experience are actually among the best; they’re when we feel most alive."

"The idea of BROCKHAMPTON is sometimes a lot more radical than their actual music, which can feel like a lot of emotions, but not necessarily a lot of direction. To some, that rough around the edges, DIY pop rap sound is what gives the group their edge, but to others it can be jarring to listen to, and the group’s songs don’t always feel like fully formed ideas. There’s a nagging sense that after five albums, it’s about time they showed a much clearer evolution in their sound."