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.
B-sides album ‘Phases’ is an interesting and thoroughly worthwhile accompaniment to Angel Olsen’s three studio albums thus far.
Archy Marshall’s second King Krule album ‘The OOZ’ is an ambitious sprawl of jazz, hip-hop, scratchy acoustic balladry and beat poetry.
Pulsating, heady and intricately vulnerable, Kelela’s debut album ‘Take Me Apart’ is a strong musical statement in the world of innovative R&B.
