A clearing house for old ideas, Bill Callahan’s ‘Gold Record’ gives off a cosy and instantly familiar feeling – and that’s a very good thing.
More personal and wide-ranging than her 2017 breakout, ‘Inner Song’ shows Kelly Lee Owens to be one of the country’s finest electronic music artists.
The D’Addario brothers’ third album ‘Songs For The General Public’ is the most effective realisation of their aesthetic of classic rock and pop influences so far.
A return to form, Biffy Clyro’s eclectic eighth album ‘A Celebration Of Endings’ suggests a number of possible futures.
A gorgeous, reflective paean to murdered Chilean musician and activist Victor Jara, James Dean Bradfield’s new solo album ‘Even In Exile’ is an understated gem.
After 17 years, Phil Elverum resurrects The Microphones for a beguiling, cryptic album consisting of one long track.
Albums written predominantly on the road rarely work, but Fontaines D.C.’s quick-fire second album ‘A Hero’s Death’ is a sparkling exception.
Lianne La Havas mines relationship trauma to deliver her most sonically and thematically cohesive album to date.
On ‘Flower Of Devotion’, Chicago post-punk trio Dehd make the most of the opportunity to expand their sound and still sound recognisable.
A perfect soundtrack for uncertain, anxious times as well as a finessing of their own art form, ‘Ultimate Success Today’ is Protomartyr’s best album yet.
