The Beths’ second album ‘Jump Rope Gazers’ sees them access a new level of depth and emotion in their songwriting.
More of the same tired old beats and hokey home-spun wisdom on comeback album ‘None Of Us Are Getting Out Of This Life Alive’ will remind people of why The Streets died out in the first place.
‘Transfiguration Highway’, the sixth album from Canadian indie act Little Kid, is a warm and welcoming record recalling folk from the Sixties and Seventies.
While its highlights are truly tremendous, BDRMM’s semi-eponymous debut ‘Bedroom’ is very front-heavy, becoming bogged down in monotony.
Dwelling on the anxieties of imminent parenthood, former Maccabees lead singer Orlando Weeks’ debut solo album ‘A Quickening’ is a very human listen.
Less summery and shiny than Haim’s previous albums, ‘Women In Music Pt. III’ is a tough, forthright statement of importance.
The first of a planned series of four albums, ‘KiCk i’ is the most ‘pop’ of all of Arca’s albums to date, yet retains the avant-garde cutting edge that has always made her music so compelling.
Fusing funky rhythms with the grit of garage-rock and punk, transatlantic outfit Pottery deliver one of the debuts of 2020 with ‘Welcome To Bobby’s Motel’.
On their third album ‘Mordechai’, Khruangbin take their globe-trotting aesthetic in a more conventional pop direction, but it’s no less rewarding.
Addressing important issues on gender expectations with style and wit, ‘Kitchen Sink’ is Nadine Shah’s finest album to date.
