Although more controlled than the chaos of their debut, Black Midi’s second album ‘Cavalcade’ is dynamic, detailed and highly intense.
On the kinetic ‘Black To The Future’, Shabaka Hutchings and Sons Of Kemet sound more urgent and animated than ever before.
‘Bright Green Field’ consists of engaging formulations of post-punk, funk, jazz and krautrock executed with manic energy – truly, one of the finest British debuts in recent times.
Marie Ulven’s first full-length girl in red album ‘if i could make it go quiet’ could transform her huge cult fanbase into mainstream success.
Recorded innovatively with water-related techniques, Crumb’s second album ‘Ice Melt’ is like psychedelia for mermaids.
Embracing funk and disco influences into their template of hard rock and chunky riffing, Royal Blood’s third album ‘Typhoons’ is admirable but slightly uneven.
On ‘Flat White Moon’, the Brewis brothers smooth out some of their sharper edges, but they don’t lose too much of their intelligence or personality in the process.
Easy-going bedroom indie-pop par extraordinaire, there’s absolutely everything right about Tomemitsu’s gorgeous ‘Sun’.
London Grammar bust out of the monotony of their first two albums with ‘Californian Soil’, their most vivid, experimental and powerful project yet.
Processing other bands’ better ideas without originality, The Snuts’ debut album ‘W.L.’ is as landfill as indie can get.
