Ezra Furman’s latest album ‘Transangelic Exodus’ is dynamic and forward-looking in musical terms, and frees up its creator for his unique storytelling style.
It’s been a long road marked with delays and tragedy, but Phobophobes’ debut album ‘Miniature World’ pays out on all their early promise.
Ryan Lott’s fifth Son Lux album ‘Brighter Wounds’ is the first one not to leave the listener dazzled, but it’s still a solid and rewarding effort.
A muddled mess of an album that sounds like a mid-life crisis being committed to record, ‘Man Of The Woods’ is an incoherent aberration from an artist who should know better.
Field Music do not disappoint with their seventh full-length release ‘Open Here’, an album full of mesmerizing arrangements and contemplative lyrics which play together in perfect harmony.
Rhye’s new release ‘Blood’ reflects both the on-stage and off-stage changes that took place around the project over the last five years, while also sticking to exactly the same style and mood that made their debut a break-out bedroom hit five years ago.
Recovering from tragedy and set for a serious chart success, ‘Microshift’ looks like it will be the ticket to mainstream visibility for Leeds’ Hookworms.
It’s been a long wait for their debut album, and Dead! deliver a solid, enjoyable and encouraging experience in ‘The Golden Age Of Not Even Trying’.
Calming, effervescent, sublime and grandiose – ‘All Melody’ is the work of an artist who understands the importance of texture in music like so few else. Nils Frahm not only manages to add to his reputation as one of the best neo-classical minimalists in the world today, but also expands on it.
After a five-year break and having moved from Sub Pop to Drag City, L.A.-based garage-rock duo No Age remind everyone of their talents with fifth album ‘Snares Like A Haircut’.
