A vibrant celebration of music and human emotions set to sleek, timeless dance-pop, ‘Róisín Machine’ is Róisín Murphy’s finest solo album to date.
On ‘Amanita Pantherina’, Cabbage finally settle into their identity and sound on a range of tracks displaying dynamism and wit.
A daring and expertly crafted statement that’s a product of its political climate, ‘The Ascension’ is another masterpiece from Sufjan Stevens.
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.
