‘Today We’re The Greatest’ is a fine evolution for Australian indie-pop outfit Middle Kids, but one that perhaps lacks a bit of innovation.
Debates about the nature of its release aside, what’s relevant is that ‘When You See Yourself’ is an extremely bland and predictable offering from an extremely bland and predictable band.
Gauzy, dreamy folk-pop meets intimate songwriting on Katy Kirby’s stellar debut album ‘Cool Dry Place’.
Human and generous, ‘Ignorance’ not only represents a significant overhaul in their sound, but also the best thing that The Weather Station have made so far.
‘The Realist’ is an understated, graceful companion to Lanterns On The Lake’s exceptional ‘Spook The Herd’, and a perfect end to an era.
Emotionally unshackled but musically pristine, the contrasts of Future Islands’ sixth album ‘As Long As You Are’ make it their most rewarding so far.
Sleeker and more powerful than his lo-fi early material, George Miller’s second Joji album ‘Nectar’ is a small but noticeable step forwards.
The biggest evolutionary leap in their sound yet, Cub Sport’s fourth album ‘Like Nirvana’ works best at its boldest.
‘Transfiguration Highway’, the sixth album from Canadian indie act Little Kid, is a warm and welcoming record recalling folk from the Sixties and Seventies.
A new side-project headed by Interpol’s Paul Banks, ‘Muzz’ is functional but ultimately nowhere near ambitious enough to transcend its origins.