On ‘Getting Into Knives’, the 19th Mountain Goats album, John Darnielle keeps his songwriting arsenal sharpened.
Making the leap from lo-fi bedroom pop to studio-bound, fully formed songcraft, Beabadoobee’s debut album ‘Fake It Flowers’ shows immense talent that’s still got space to develop.
Arguably James Blake’s most out-and-out dancefloor orientated work yet, ‘Before’ is a reminder of what we’re missing under lockdown.
Unlike his work with The National, it’s very much up to the listener with what they want to find in Matt Berninger’s debut solo album ‘Serpentine Prison’.
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.
