Too much of ‘American Utopia’, the first solo album from David Byrne in 14 years, sounds hopelessly outdated for it to pass as anything other than okay.
With limited but highly enjoyable successes on their fifth album ‘Always Ascending’, Franz Ferdinand can still claim to have relevance in 2018.
‘White Light/White Heat’ may have been made without Andy Warhol and Nico, but contains six tracks of raw, ugly but compelling garage-rock. Sadly, it would be the last album by the classic Velvet Underground line-up.
Psychedelic garage rock veteran John Dwyer continues his prodigious output rate by returning to his OCS moniker on ‘Memory Of A Cut Off Head’.
Jamison Isaak delivers the second of two Teen Daze albums of 2017, both focussed on ecological and environmental issues, but ‘Themes For A New Earth’ is notably more optimistic.
Italian film soundtrack composer Daniele Luppi and New York slacker-rock gods Parquet Courts make for an odd meeting on paper, but ‘MILANO’ is consistently compelling and enjoyable.
Given the injustices of the state of the world in 2017 that it rages against, Godspeed You! Black Emperor’s sixth album ‘Luciferian Towers’ is oddly flat.
After 20 years and nine Foo Fighters albums of straight-down-the-line power rock, you know what to expect from ‘Concrete And Gold’. But is that really enough?
Deerhoof’s 14th album ‘Mountain Moves’ is a compelling array of diverse styles that only accomplished veterans can emulate.
Ahead of the Mercury Prize 2017, we preview the shortlisted nominees and look at the history of the award.