Leeds-based four-piece Skull release an intriguing debut album which, while a little self-indulgent at times, leaves them with plenty of space into which to evolve.
Ian Black’s second Slug album ‘HiggledyPiggledy’ is an erratic and irregular beast, but there’s enough for everybody to enjoy.
Tinashe’s third album ‘Joyride’ displays plenty of vocal talent, but her presence is often obscured by her male collaborators.
Breaking Benjamin’s sixth album ‘Ember’ is a monotonous, predictable and overly-clean disappointment.
Toiling to resolve their populist tendencies with artiness, ‘Resistance Is Futile’ might be the most emotionally honest Manic Street Preachers album yet.
Kyle Molleson studiously constructs his music before gleefully destroying it on his debut Makeness album, ‘Loud Patterns’.
Mark Oliver Everett’s 12th Eels album ‘The Deconstruction’ contains everything in its right place, yet the tone is most definitely more optimistic than usual.
Unknown Mortal Orchestra’s fourth album ‘Sex & Food’ contains much musical progression, but still showcases Ruban Nielson’s unique songcraft.
Trading in hooks for warmer pop textures but retaining the lo-fi feel of their debut, Hinds’ second album ‘I Don’t Run’ is another understated success.
Goat Girl’s self-titled debut album displays huge promise and compelling modern punk bile, but its structure of song sketches lets the band down.