‘Bright Green Field’ consists of engaging formulations of post-punk, funk, jazz and krautrock executed with manic energy – truly, one of the finest British debuts in recent times.
Processing other bands’ better ideas without originality, The Snuts’ debut album ‘W.L.’ is as landfill as indie can get.
While it houses some real gems in its first half, Ben Howard’s fourth album ‘Collections From The Whiteout’ feels long-winded and occasionally directionless.
Urgent yet surprisingly heartfelt, ‘Emergency Telephone’ sees Billy Nomates expand her artistic credentials and establish herself as one of the most compelling new voices in post-punk today.
Slowthai’s paradoxical sophomore album ‘TYRON’ delves into the duality of his psyche, yielding some career highlights that are occasionally let down by underdeveloped ideas.
Emotions are only dealt with on a superficial level on Arlo Parks’ disappointing debut album ‘Collapsed In Sunbeams’.
Never originally intended for a conventional album release, Gorillaz’ first Song Machine collection ‘Strange Timez’ is dazzlingly diverse yet emotionally coherent, a perfect soundtrack to a world going wrong outside.
Everything Everything’s attempts at creating bigger and bolder pop anthems on ‘Re-Animator’ fall flat as they delve too deeply into their influences and often discard what made them such an engaging band to begin with.
Declan McKenna matures and expands his sound on the glam-inspired ‘Zeros’, which brims with moments of vibrancy that outweigh the occasional over-exuberance.
Lianne La Havas mines relationship trauma to deliver her most sonically and thematically cohesive album to date.
