Hobbled by a very short run-time, Dirty Projectors’ latest EP ‘Windows Open’ feels slightly unsatisfying and insubstantial as we wait for a new album.
An album suffering a slight identity crisis, split between jazz, electronica and punk, ‘100% Yes’ is a blip for the talented Melt Yourself Down.
A curate’s egg only of interest to hard-bitten Sufjan fans, ‘Aporia’ is a series of frustratingly half-formed good ideas recorded with his stepfather Lowell Brams.
Nandi Rose Plunkett’s second Half Waif album ‘The Caretaker’ is a beautiful and dark record, exuding resilience and vulnerability in equal measure.
Wearing experience and determination like a badge of courage, Katie Crutchfield’s fifth Waxahatchee album ‘Saint Cloud’ is her finest so far.
Recorded after years of personal struggle, Holly Lapsley Fletcher’s long-awaited second album ‘Through Water’ is therapeutic and cathartic.
Grittier, darker and more emotionally honest than anything he’s ever done, ‘After Hours’ represents a step forward for Abel Tesfaye.
It won’t do anything to win back any previous fans, but Morrissey’s latest LP ‘I Am Not A Dog On A Chain’ is better than his recent efforts.
Nocturnal vignettes of the modern dating landscape, ‘The Night Chancers’ is Baxter Dury’s most complete album yet.
Deap Vally and The Flaming Lips join forces for ‘Deap Lips’, which is sadly less than the sum of its parts.
