Journeying inwards and exploring different rhythms and textures, Bicep’s second album ‘Isles’ is a bit less than the sum of its parts.
An extraordinarily powerful evocation of isolation and heartbreak built with the barest of ingredients, Adrianne Lenker’s two new albums are spellbinding.
Taking inspiration from Chicago house and the more cerebral end of punk, ‘Working Men’s Club’ is a contender for the best debut album of 2020.
IDLES’ third album ‘Ultra Mono’ lacks the off-kilter energy of their debut and the joie-de-vivre of their second, but hits just about hard enough.
Competently and entertainingly interpreting their post-punk / new-wave influences, ‘Gentle Grip’ is a fine debut from Public Practice.
The purest expression of Mike Hadreas’ artistry as Perfume Genius yet, ‘Set My Heart On Fire Immediately’ is a resounding masterpiece.
Ghostpoet’s grimy hybridisation of hip-hop and indie has never left much room for light, but fifth album ‘I Grow Tired But Dare Not Fall Asleep’ is incredibly prescient.
‘The Don Of Diamond Dreams’, the latest album from Ishmael Butler’s Shabazz Palaces, occasionally drifts too much, but few make hip-hop as immersive as him.
Drawing on pop, post-punk, grunge and jazz, Asha Lorenz and Louis O’Bryen miraculously make their influences cohere on their first Sorry album ‘925’.
Sarah Barthel and Josh Carter’s fourth Phantogram album ‘Ceremony’ is like a well-acted film without a strong enough story.