Although it’s taken a while to arrive, ‘All The Things I Never Said’ is a promising starting point for Pale Waves that leaves a lasting first impression.
Meghan Remy’s newest batch of narratives dipped in concoctions of psych-rock, synth-pop, and the avant-garde provide angry, harsh, and in places downright bitter moments of vicarious catharsis.
Explicitly referencing their own past with a new trilogy of EPs, all titled ‘How To Solve Our Human Problems’, Belle & Sebastian are in brilliant creative form.
It’s not quite the return to the days of ‘Kids’ and ‘Time To Pretend’, but MGMT’s fourth album ‘Little Dark Age’ is certainly their most focussed and pop-orientated in the decade since those glory days.
Recovering from tragedy and set for a serious chart success, ‘Microshift’ looks like it will be the ticket to mainstream visibility for Leeds’ Hookworms.
Calming, effervescent, sublime and grandiose – ‘All Melody’ is the work of an artist who understands the importance of texture in music like so few else. Nils Frahm not only manages to add to his reputation as one of the best neo-classical minimalists in the world today, but also expands on it.
After a five-year break and having moved from Sub Pop to Drag City, L.A.-based garage-rock duo No Age remind everyone of their talents with fifth album ‘Snares Like A Haircut’.
After a long lay-off, Marmozets’ second album ‘Knowing What You Know Now’ picks up where they left off in terms of energy, but dabbles in more experimental shades this time round.
Django Django’s third album ‘Marble Skies’ is their boldest and most diverse record yet, despite not containing any immediately classic singles.
Politics, righteousness and amazing tunes freighted with force and melody, ‘Dream Wife’ is everything you could possibly want from a debut album.
