Processing other bands’ better ideas without originality, The Snuts’ debut album ‘W.L.’ is as landfill as indie can get.
Dry, inventive and intelligent, Dry Cleaning’s ‘New Long Leg’ represents one of British post-punk’s most promising debut albums in years.
Delicate, polished but ultimately a bit anonymous, ‘DEACON’ loses its identity in Josiah Wise’s pursuit of perfection.
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.
Inventive, energetic avant-pop bears up heavy thematic material on Tune-Yards’ dense latest effort ‘sketchy.’.
A yearning, spiritual jazz masterpiece augmented by minimalist electronica and symphonic elements, ‘Promises’ is a seamless fusion of genres.
After a prolonged battle with debilitating aural conditions, Peter Silberman revives The Antlers for the guardedly optimistic ‘Green To Gold’.
‘Today We’re The Greatest’ is a fine evolution for Australian indie-pop outfit Middle Kids, but one that perhaps lacks a bit of innovation.
While it perhaps won’t have the same impact as previous releases, ‘Chemtrails Over The Country Club’ is an artful evolution of Lana Del Rey’s image and persona.
Former East India Youth man William Doyle’s latest album ‘Great Spans Of Muddy Time’ is populated exclusively by ideas executed better by other artists.
