On their self-titled fourth album, Chastity Belt fully and expertly embrace the more mature, anxious sound they began exploring last time out.
On ‘Why Me? Why Not.’, Liam Gallagher amplifies and doubles down on the successful parts of his 2017 solo debut.
Embracing a gothic, more intimate style, Chelsea Wolfe opens up new avenues for her sound with latest album ‘Birth Of Violence’.
While it wears its Springsteen influences a little too heavily at times, ‘Hypersonic Missiles’ demonstrates Sam Fender’s storytelling qualities in abundance.
A curious, diverse yet vaguely conceptual album designed to be picked apart for personal playlists, ‘Metronomy Forever’ sees Joseph Mount enter yet another new phase.
Weaving something unmistakably fantastical into his bedroom pop aesthetic, Alex Giannascoli ascends to a new level on his latest (Sandy) Alex G album ‘House Of Sugar’.
‘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.