Embracing funk and disco influences into their template of hard rock and chunky riffing, Royal Blood’s third album ‘Typhoons’ is admirable but slightly uneven.
Dry, inventive and intelligent, Dry Cleaning’s ‘New Long Leg’ represents one of British post-punk’s most promising debut albums in years.
A low-key album of pop, dub and rap experimentation, ‘Gorillaz’ is a compelling but imperfect origin story of one of music’s most enduring bands.
Former East India Youth man William Doyle’s latest album ‘Great Spans Of Muddy Time’ is populated exclusively by ideas executed better by other artists.
‘The Shadow I Remember’ is as essential as Cloud Nothings have ever sounded, a collection of taut and cathartic meld of garage punk and post-hardcore.
On fourth album ‘Glowing In The Dark’, Django Django partly rediscover the danceable art-rock roots that established them a decade ago.
Pulling post-punk, krautrock and jazz into thrilling new shapes, Black Country, New Road’s ‘For The First Time’ is one of British indie’s finest debuts for years.
Shame’s second album ‘Drunk Tank Pink’ takes a darker turn away from their debut, but comes off like an immaculately observed but ultimately slightly uninspired collection.
A sonically similar companion piece to ‘folklore’, Taylor Swift’s ‘evermore’ is lush and detailed both lyrically and musically.
Lo-fi but polished and precise, the self-titled debut from Mamalarky is the result of deep musical knowledge and meticulous attention to detail.