Though it fluctuates between intensely intimate moments and full-band productions, ‘Home Video’ is Lucy Dacus’ strongest album yet in lyrical terms.
Justin Vernon’s reinvention of Bon Iver as a full-band endeavour for its second album, replete with electronic washes, has been quietly but massively influential.
Inventive, energetic avant-pop bears up heavy thematic material on Tune-Yards’ dense latest effort ‘sketchy.’.
While it perhaps won’t have the same impact as previous releases, ‘Chemtrails Over The Country Club’ is an artful evolution of Lana Del Rey’s image and persona.
Embracing a bigger sound than her acutely intimate early work, ‘Little Oblivions’ serves to amplify Julien Baker’s message.
Reimagining their post-punk sound along more diverse lines, Goat Girl’s second album ‘On All Fours’ is an unmitigated triumph.
While there are a healthy number of inspired takes on beautiful heartbreak originals, Marika Hackman’s ‘Covers’ is too uniformly sombre.
Unlike his work with The National, it’s very much up to the listener with what they want to find in Matt Berninger’s debut solo album ‘Serpentine Prison’.
Despite being titled ‘ENERGY’, the Lawrence brothers’ third Disclosure album often lacks the creative spark of ingenuity, content to rest in autopilot.
Alicia Bognanno grows ever more confident on Bully’s third album ‘SUGAREGG’, a cathartic soundtrack to picking up the pieces and starting again.