A soundtrack for isolation and reflection, Kevin Morby’s latest album ‘Sundowner’ is likely to be remembered as an outlier in his discography.
A four-hour monster of a remix album, there’s so much material on Foals’ ‘Collected Reworks’ that it’s worth your time to at least explore.
Emotionally unshackled but musically pristine, the contrasts of Future Islands’ sixth album ‘As Long As You Are’ make it their most rewarding so far.
Taking inspiration from Chicago house and the more cerebral end of punk, ‘Working Men’s Club’ is a contender for the best debut album of 2020.
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.
Sleeker and more powerful than his lo-fi early material, George Miller’s second Joji album ‘Nectar’ is a small but noticeable step forwards.
A daring and expertly crafted statement that’s a product of its political climate, ‘The Ascension’ is another masterpiece from Sufjan Stevens.
‘Shore’ is Robin Pecknold’s most sun-drenched and stripped back Fleet Foxes album yet – something that both works in its favour and against it.
IDLES’ third album ‘Ultra Mono’ lacks the off-kilter energy of their debut and the joie-de-vivre of their second, but hits just about hard enough.
