The swirling, punk-inspired explorations of indie, krautrock and jazz influences on Squid’s debut EP ‘Town Centre’ show why they’re so hotly tipped.
The third Oso Oso album, ‘Basking In The Glow’, sees Jade Lilitri reflect on making mistakes in life.
On ‘Fear Inoculum’, their first album in 13 years, Tool have not only managed to retain their finesse and sense of identity, but also their ambition to experiment.
Never before have Lana Del Rey’s various aesthetics sounded more genuine, and in service of a singular sentiment, than on ‘Norman Fucking Rockwell!’
Jeremy Nutzmann’s first proper Velvet Negroni album ‘Neon Brown’ blurs and erases the lines between genres.
Returning to a more basic, garage-punk sound, ‘Twelve Nudes’ is a short, consistent blast of intelligence and energy directed at the parlous state of society in 2019.
Fusing harsh noise dynamics with blissful pop, Benjamin John Power’s fourth Blanck Mass album ‘Animated Violence Mild’ finds pleasure in pain, and vice versa.
Spearheaded by the fantastic ‘Magic Of Meghan’, wry London post-punk quartet Dry Cleaning deliver an exceptional debut EP in ‘Sweet Princess’.
Aided by St. Vincent on production, ‘The Center Won’t Hold’ boasts the widest range of sonic influences for any Sleater-Kinney album so far.
Justin Vernon’s fourth Bon Iver album ‘i, i’ emphasises the balance that needs to be struck between community and the individual, and is his warmest music yet.
