On ‘Kids See Ghosts’, Kanye West and Kid Cudi find in each other the perfect creative foil – Cudi setting the mood and bringing lyrical honesty, while West provides the edge with his verses and ingenious sampling.
Eclectic yet completely coherent, Neko Case’s eighth solo album ‘Hell-On’ is a triumph for female storytelling in modern music.
‘Fleet Foxes’, one of the most perfectly formed and influential debut albums of the Noughties, turns 10 years old.
Leon Bridges’ sophomore album ‘Good Thing’ is more rooted in the present than the past, while leaving the more classical features of his sound and delivery intact.
Mark Oliver Everett’s 12th Eels album ‘The Deconstruction’ contains everything in its right place, yet the tone is most definitely more optimistic than usual.
A surprise mini-album released in time for Easter, ‘My Dear Melancholy’ sees Abel Tesfaye leaning a little more towards his origins and away from the fanbase-splitting ‘Starboy’.
An underrated, ’60s-indebted gem that divided fans and caused Panic At The Disco to split in two, ‘Pretty. Odd.’ has aged incredibly well over the last decade.
Gengahr’s second album ‘Where Wildness Grows’ shows some progression on their pleasant, shoegaze-inflected indie-pop formula.
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.
First Aid Kit’s third album ‘Ruins’ suffers from same-iness, but the Soderberg sisters are in fine vocal form and it’s a comforting, if rarely challenging listen.