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.
Collecting 12 months’ worth of sporadic recording designed to be listened to individually, ‘Sweet ’17 Singles’ is perfectly enjoyable but doesn’t move Twin Peaks forward.
With limited but highly enjoyable successes on their fifth album ‘Always Ascending’, Franz Ferdinand can still claim to have relevance in 2018.
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.
Ezra Furman’s latest album ‘Transangelic Exodus’ is dynamic and forward-looking in musical terms, and frees up its creator for his unique storytelling style.
It’s been a long road marked with delays and tragedy, but Phobophobes’ debut album ‘Miniature World’ pays out on all their early promise.
Ryan Lott’s fifth Son Lux album ‘Brighter Wounds’ is the first one not to leave the listener dazzled, but it’s still a solid and rewarding effort.
A muddled mess of an album that sounds like a mid-life crisis being committed to record, ‘Man Of The Woods’ is an incoherent aberration from an artist who should know better.
Field Music do not disappoint with their seventh full-length release ‘Open Here’, an album full of mesmerizing arrangements and contemplative lyrics which play together in perfect harmony.
Rhye’s new release ‘Blood’ reflects both the on-stage and off-stage changes that took place around the project over the last five years, while also sticking to exactly the same style and mood that made their debut a break-out bedroom hit five years ago.