Machine-tooled for success to the point that it’s utterly unremarkable, the debut album from Lewis Capaldi almost defies analysis.
A politicised and socially aware update on their debut, full of soulful and orchestrated swells, ‘American Love Call’ sees Durand Jones & The Indications get serious.
A loose concept album of hope and strength in the face of disillusionment, Bridie Monds-Watson’s second SOAK album ‘Grim Town’ is a leap forwards.
‘Social Cues’ represents a significant revival of artistic fortunes for Matt Shultz and Cage The Elephant.
Worn-out musical inspirations and lazy songwriting make Circa Waves’ third album ‘What’s It Like Over There?’ a significant let-down.
Belgian trio Brutus meld post-hardcore, black metal and hard rock to make some thrilling compounds on their sophomore album ‘Nest’.
Spanning 10 years, three albums and an EP, ‘The Beirut School’ is an excellent snapshot of what makes Lebanese indie-pop activists Mashrou’ Leila so compelling.
Sundara Karma emulate the glories of their debut with second album ‘Ulfilas’ Alphabet’, this time relying more on texture than anthemic songwriting.
On their third album ‘Strange Creatures’, Drenge tweak and experiment with their hard, fast and loud post-grunge racket, with compelling results.
It’s business as usual for former Hüsker Dü frontman Bob Mould on his 13th solo album ‘Sunshine Rock’, one of the least gloomy and most reflective works he’s ever produced.