While it wears its Springsteen influences a little too heavily at times, ‘Hypersonic Missiles’ demonstrates Sam Fender’s storytelling qualities in abundance.
Greta Kline’s knack for clipped, emotionally disruptive songwriting under her Frankie Cosmos moniker remains as compelling as ever on ‘Close It Quietly’.
Alexandra Denton’s second Shura album ‘forevher’ essays the thrills and anxieties of falling in love.
Lush, summery dream-pop dominates the mood on ‘Until The Tide Creeps In’, the debut album from new British indie hopefuls Penelope Isles.
A significantly more varied effort than last year’s ‘Sugar & Spice’ EP, Harriette Pilbeam’s debut album as Hatchie shows that dream-pop is a world with almost unlimited possibilities.
An emotionally raw album whose message of survival is disguised under forceful pop-punk, ‘Young Enough’ is a major evolution for Charly Bliss.
Delivered at a stable pace and focussed on songwriting, ‘U.F.O.F.’ is the most expansive Big Thief album yet.
Teaching listeners to embrace their dysfunctions, ‘Morbid Stuff’ is the angriest and yet most empathetic PUP record to date.
As technically accomplished and emotionally affecting as ever, American Football’s third self-titled album continues to make the band’s reunion worthwhile.
A carefully layered album of electropop and indie, the four-year wait for Amber Bain’s debut LP as The Japanese House, ‘Good At Falling’, was worth it.
