On sixth album ‘2020’, Richard Dawson narrates our modern, hyper-branded, anxious and rushed world.
Big Thief’s second album of 2019 alone, ‘Two Hands’, is much more earth-bound and raw than its heavenly predecessor.
Louder, more emotional and more thoughtful than ever before, Zachary Cole Smith makes his finest DIIV album so far with ‘Deceiver’.
On her fourth album ‘All Mirrors’, Angel Olsen effortlessly evolves into a synth-rock queen, embracing emotional turbulence and upheaval.
Although perhaps not as cutting-edge as ‘Atrocity Exhibition’, ‘uknowhatimsayin¿’ is Danny Brown’s most consistent effort.
Expressed with profound humanity, ‘Ghosteen’ is the most beautiful music that Nick Cave has ever made.
A hulking beast of bleak experimentalism, Girl Band’s second effort ‘The Talkies’ is bewildering yet emotionally cathartic.
On their self-titled fourth album, Chastity Belt fully and expertly embrace the more mature, anxious sound they began exploring last time out.
Weaving something unmistakably fantastical into his bedroom pop aesthetic, Alex Giannascoli ascends to a new level on his latest (Sandy) Alex G album ‘House Of Sugar’.
A concept album about girl vampire bikers in Eighties’ L.A., Natasha Khan’s fifth Bat For Lashes album ‘Lost Girls’ is her most all-encapsulating work yet.
