Letting our collective anxiety about the state of the world stew in glacial, literate pop, Meghan Remy’s latest U.S. Girls album ‘Heavy Light’ is different to her previous masterpiece.
A song cycle of friendship, desire and regret, ‘The Neon Skyline’ shows that Andy Shauf continues to blossom as a songwriter.
On sixth album ‘2020’, Richard Dawson narrates our modern, hyper-branded, anxious and rushed world.
On her fourth album ‘All Mirrors’, Angel Olsen effortlessly evolves into a synth-rock queen, embracing emotional turbulence and upheaval.
Her first solo album outside of Alabama Shakes, Brittany Howard roots ‘Jaime’ in her previous sound but leans to a more tender and experimental style.
A curious, diverse yet vaguely conceptual album designed to be picked apart for personal playlists, ‘Metronomy Forever’ sees Joseph Mount enter yet another new phase.
A concept album about girl vampire bikers in Eighties’ L.A., Natasha Khan’s fifth Bat For Lashes album ‘Lost Girls’ is her most all-encapsulating work yet.
Katherine Paul’s second Black Belt Eagle Scout album in barely over a year, ‘At The Party With My Brown Friends’ lacks some of the gut-punching immediacy of its predecessor.
‘Grace’, the sole completed album by the iconic Jeff Buckley before his untimely death at the age of 30, still stands up as a universally relatable yet highly personal record.
Justin Vernon’s fourth Bon Iver album ‘i, i’ emphasises the balance that needs to be struck between community and the individual, and is his warmest music yet.
