The Orielles’ debut album ‘Silver Dollar Moment’ is a sparky, quick-fix of garage-rock energy refracted through the lens of classic pop.
Joan Wasser explores many different themes on ‘Damned Devotion’, from the struggles of being in a relationship, through showing off your tender side, to completely taking your guard down.
Although it’s taken a while to arrive, ‘All The Things I Never Said’ is a promising starting point for Pale Waves that leaves a lasting first impression.
If you have followed Poliça on their discography thus far then this is yet another interesting addition. However, ‘Music For The Long Emergency’ fails as frequently as it succeeds, leaving those unfamiliar to the Minneapolis band’s work little reason to listen now.
Meghan Remy’s newest batch of narratives dipped in concoctions of psych-rock, synth-pop, and the avant-garde provide angry, harsh, and in places downright bitter moments of vicarious catharsis.
Ought’s third studio album ‘Room Inside The World’ sees them temper their post-punk with a newfound darkness and beauty.
Explicitly referencing their own past with a new trilogy of EPs, all titled ‘How To Solve Our Human Problems’, Belle & Sebastian are in brilliant creative form.
Collecting 12 months’ worth of sporadic recording designed to be listened to individually, ‘Sweet ’17 Singles’ is perfectly enjoyable but doesn’t move Twin Peaks forward.
With limited but highly enjoyable successes on their fifth album ‘Always Ascending’, Franz Ferdinand can still claim to have relevance in 2018.
It’s not quite the return to the days of ‘Kids’ and ‘Time To Pretend’, but MGMT’s fourth album ‘Little Dark Age’ is certainly their most focussed and pop-orientated in the decade since those glory days.
