Making the leap from lo-fi bedroom pop to studio-bound, fully formed songcraft, Beabadoobee’s debut album ‘Fake It Flowers’ shows immense talent that’s still got space to develop.
A vibrant celebration of music and human emotions set to sleek, timeless dance-pop, ‘Róisín Machine’ is Róisín Murphy’s finest solo album to date.
The Beths’ second album ‘Jump Rope Gazers’ sees them access a new level of depth and emotion in their songwriting.
Less summery and shiny than Haim’s previous albums, ‘Women In Music Pt. III’ is a tough, forthright statement of importance.
‘To Love Is To Live’, the debut solo album from Savages’ lead singer Jehnny Beth, is an uncompromising tackling of the dark sides of life as well as a celebration of its highs.
Heavier and more robust than previous releases, PINS’ third album ‘Hot Slick’ nevertheless retains the playfulness that made them so enjoyable when they emerged.
Hayley Williams’ debut solo album ‘Petals For Armor’ showcases a different and interesting side to her personality outside of the context of Paramore.
Following a string of rough ‘n’ ready singles, Hotel Lux’s first EP ‘Barstool Preaching’ further justifies the excited words being uttered about them.
Lorely Rodriguez bounces back with her third album ‘I’m Your Empress Of’, more expressive and personal than her previous works.
Nandi Rose Plunkett’s second Half Waif album ‘The Caretaker’ is a beautiful and dark record, exuding resilience and vulnerability in equal measure.
