‘Beneath The Eyrie’ is the sound of Pixies spoiling their own legacy, with a collection of largely pedestrian and uniformly mid-paced tracks.
Chicago’s Twin Peaks have sacrificed a bit too much of their unique character in the pursuit of maturity on fourth album ‘Lookout Low’.
Greta Kline’s knack for clipped, emotionally disruptive songwriting under her Frankie Cosmos moniker remains as compelling as ever on ‘Close It Quietly’.
A concept album about girl vampire bikers in Eighties’ L.A., Natasha Khan’s fifth Bat For Lashes album ‘Lost Girls’ is her most all-encapsulating work yet.
Jana Hunter’s forthright songwriting collides with immersive synth-driven music on Lower Dens’ fourth album ‘The Competition’.
The swirling, punk-inspired explorations of indie, krautrock and jazz influences on Squid’s debut EP ‘Town Centre’ show why they’re so hotly tipped.
On his second album ‘404’, Barns Courtney sounds like he’s hanging desperately on to the coat-tails of others as he beats a path to commercial success.
Covering louche indie-rock, free jazz and spoken-word meditations, the creativity of Iggy Pop’s ‘Free’ is remarkable for an artist now in his seventies.
The third Oso Oso album, ‘Basking In The Glow’, sees Jade Lilitri reflect on making mistakes in life.
Three years in the making, Whitney’s second album ‘Forever Turned Around’ is just like its predecessor: earnest yet refreshingly free.
