Marie Ulven’s first full-length girl in red album ‘if i could make it go quiet’ could transform her huge cult fanbase into mainstream success.
Easy-going bedroom indie-pop par extraordinaire, there’s absolutely everything right about Tomemitsu’s gorgeous ‘Sun’.
‘Show Me How You Disappear’ is Jilian Medford’s most emotionally open Ian Sweet album yet.
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.
