A bold and aggressive expansion upon all the elements that made ‘Chaleur Humaine’ such a slow-burning success, ‘Chris’ is another winner.
Still bent on creativity and pushing their limits years after their Britpop contemporaries became lazy and fat, Suede have delivered one of their finest albums with ‘The Blue Hour’.
An enervating soundtrack to a disintegrating world of fake news, economic decline and societal discontent, Low have delivered a resounding, unique masterpiece with 12th album ‘Double Negative’.
Combining sonic curveballs with accessible, dare we say straightforward moments, ‘Collapse’ is absolutely classic Aphex Twin material.
‘Black Rainbow Sound’ sees Leeds-based Menace Beach upgrade their template by successfully building in synths and electronics into their indie-psych sound.
A musical collaboration borne from their PEOPLE project, Aaron Dessner and Justin Vernon are a match made in indie-rock heaven on ‘Big Red Machine’.
Channeling emotion and beauty as well as anger and intelligence, Idles’ second album ‘Joy As An Act Of Resistance’ is one of the finest punk albums in recent memory.
Dev Hynes paints a beguiling portrait of horror and beauty, reflecting 2018 back on itself with his fourth Blood Orange album ‘Negro Swan’.
Confessional bedroom indie meets the sonic expanses of shoegaze on Basement Revolver’s debut album ‘Heavy Eyes’, with Chrisy Hurn’s vocals and lyrics marking her out as a serious talent.
A strikingly beautiful and intensely personal triumph, Mitski Miyawaki’s fifth studio album ‘Be The Cowboy’ has firmly established her as one of the best young songwriters in music.
