(Sub Pop)
The Stockholm musician’s debut album is a fascinating character study with improvised lyrics and a light, pretty sound that belies its emotional depth

The bewilderment of a romantic breakup, and the consolation prize of understanding yourself a little better afterwards, is rendered evocatively on the eight-song debut album by Waterbaby, a Stockholm singer-songwriter who prefers to keep her real name out of the public eye.

She improvised some of the lyrics, which creates the sense of her piecing together a new reality in real time, though that approach has its limits: the pleasant but vague opening song, Sink, threatens to do just that. But, thereafter, she locks into a run of superb material, performed on piano, acoustic guitar, drums, strings and brass, augmented with flourishes such as dulcimer and flute.

(Sub Pop)
The Stockholm musician’s debut album is a fascinating character study with improvised lyrics and a light, pretty sound that belies its emotional depth

The bewilderment of a romantic breakup, and the consolation prize of understanding yourself a little better afterwards, is rendered evocatively on the eight-song debut album by Waterbaby, a Stockholm singer-songwriter who prefers to keep her real name out of the public eye.

She improvised some of the lyrics, which creates the sense of her piecing together a new reality in real time, though that approach has its limits: the pleasant but vague opening song, Sink, threatens to do just that. But, thereafter, she locks into a run of superb material, performed on piano, acoustic guitar, drums, strings and brass, augmented with flourishes such as dulcimer and flute.

(Sub Pop)
The Stockholm musician’s debut album is a fascinating character study with improvised lyrics and a light, pretty sound that belies its emotional depth

The bewilderment of a romantic breakup, and the consolation prize of understanding yourself a little better afterwards, is rendered evocatively on the eight-song debut album by Waterbaby, a Stockholm singer-songwriter who prefers to keep her real name out of the public eye.

She improvised some of the lyrics, which creates the sense of her piecing together a new reality in real time, though that approach has its limits: the pleasant but vague opening song, Sink, threatens to do just that. But, thereafter, she locks into a run of superb material, performed on piano, acoustic guitar, drums, strings and brass, augmented with flourishes such as dulcimer and flute.

UK house price growth slowed in February as value of typical home rose 0.3% to £301,151

• Business live – latest updates

Halifax has warned that the US-Israel war on Iran could slow mortgage rate decreases this year, as it said that house price growth eased dramatically in February.

Halifax, which is part of Lloyds – Britain’s biggest mortgage lender – said the conflict in the Middle East was likely to affect global economies, stoke inflation and reduce the likely rate of interest rate cuts that influence borrowing costs for homebuyers.

UK house price growth slowed in February as value of typical home rose 0.3% to £301,151

• Business live – latest updates

Halifax has warned that the US-Israel war on Iran could slow mortgage rate decreases this year, as it said that house price growth eased dramatically in February.

Halifax, which is part of Lloyds – Britain’s biggest mortgage lender – said the conflict in the Middle East was likely to affect global economies, stoke inflation and reduce the likely rate of interest rate cuts that influence borrowing costs for homebuyers.

UK house price growth slowed in February as value of typical home rose 0.3% to £301,151

• Business live – latest updates

Halifax has warned that the US-Israel war on Iran could slow mortgage rate decreases this year, as it said that house price growth eased dramatically in February.

Halifax, which is part of Lloyds – Britain’s biggest mortgage lender – said the conflict in the Middle East was likely to affect global economies, stoke inflation and reduce the likely rate of interest rate cuts that influence borrowing costs for homebuyers.

Reacher’s Alan Ritchson takes on alien robots in an action thriller that benefits from some better-than-usual streaming special effects

You’d be forgiven for skipping past Netflix’s gory, militaristic action thriller War Machine at this particular moment. There is, after all, an actual war raging on (is there ever a good time, one could argue?) but those behind the film would likely use its sci-fi bent as a differentiation defense. The war being raged here is not between the US and a foreign earthly entity but rather one from somewhere above, our umpteenth soldiers v aliens matchup. It’s a clear “if you like” column filler for fans of Predator, Edge of Tomorrow or, if they exist, Battle: Los Angeles, yet unlike the many films it’s clearly inspired by, the extraterrestrials here are designed to resemble machines that could have originated from another country rather than another planet, robotic whirring over tentacle slithering.

It gives the film a slightly generic sheen, like a cheaper Transformers spin-off, but it’s also thankfully devoid of the dreaded Netflix murk, that flattening filter that reduces most colours to grey, the film an acquisition from Lionsgate. Set in Colorado but shot in Australia from native writer-director Patrick Hughes, and granted a theatrical release there last month, it makes for a slicker-than-usual streaming premiere, an easy, drink-your-way-through-it Friday night option for those who wish to remain entirely unchallenged.

Reacher’s Alan Ritchson takes on alien robots in an action thriller that benefits from some better-than-usual streaming special effects

You’d be forgiven for skipping past Netflix’s gory, militaristic action thriller War Machine at this particular moment. There is, after all, an actual war raging on (is there ever a good time, one could argue?) but those behind the film would likely use its sci-fi bent as a differentiation defense. The war being raged here is not between the US and a foreign earthly entity but rather one from somewhere above, our umpteenth soldiers v aliens matchup. It’s a clear “if you like” column filler for fans of Predator, Edge of Tomorrow or, if they exist, Battle: Los Angeles, yet unlike the many films it’s clearly inspired by, the extraterrestrials here are designed to resemble machines that could have originated from another country rather than another planet, robotic whirring over tentacle slithering.

It gives the film a slightly generic sheen, like a cheaper Transformers spin-off, but it’s also thankfully devoid of the dreaded Netflix murk, that flattening filter that reduces most colours to grey, the film an acquisition from Lionsgate. Set in Colorado but shot in Australia from native writer-director Patrick Hughes, and granted a theatrical release there last month, it makes for a slicker-than-usual streaming premiere, an easy, drink-your-way-through-it Friday night option for those who wish to remain entirely unchallenged.

Reacher’s Alan Ritchson takes on alien robots in an action thriller that benefits from some better-than-usual streaming special effects

You’d be forgiven for skipping past Netflix’s gory, militaristic action thriller War Machine at this particular moment. There is, after all, an actual war raging on (is there ever a good time, one could argue?) but those behind the film would likely use its sci-fi bent as a differentiation defense. The war being raged here is not between the US and a foreign earthly entity but rather one from somewhere above, our umpteenth soldiers v aliens matchup. It’s a clear “if you like” column filler for fans of Predator, Edge of Tomorrow or, if they exist, Battle: Los Angeles, yet unlike the many films it’s clearly inspired by, the extraterrestrials here are designed to resemble machines that could have originated from another country rather than another planet, robotic whirring over tentacle slithering.

It gives the film a slightly generic sheen, like a cheaper Transformers spin-off, but it’s also thankfully devoid of the dreaded Netflix murk, that flattening filter that reduces most colours to grey, the film an acquisition from Lionsgate. Set in Colorado but shot in Australia from native writer-director Patrick Hughes, and granted a theatrical release there last month, it makes for a slicker-than-usual streaming premiere, an easy, drink-your-way-through-it Friday night option for those who wish to remain entirely unchallenged.