Katherine Paul’s second Black Belt Eagle Scout album in barely over a year, ‘At The Party With My Brown Friends’ lacks some of the gut-punching immediacy of its predecessor.
On ‘Fear Inoculum’, their first album in 13 years, Tool have not only managed to retain their finesse and sense of identity, but also their ambition to experiment.
Never before have Lana Del Rey’s various aesthetics sounded more genuine, and in service of a singular sentiment, than on ‘Norman Fucking Rockwell!’
Jeremy Nutzmann’s first proper Velvet Negroni album ‘Neon Brown’ blurs and erases the lines between genres.
Returning to a more basic, garage-punk sound, ‘Twelve Nudes’ is a short, consistent blast of intelligence and energy directed at the parlous state of society in 2019.
Melina Duterte brings collaborators on board for her second Jay Som album ‘Anak Ko’, and successfully expands her original bedroom pop vision.
One can only hope that Modern Nature isn’t a one-off project for former Ultimate Painting star Jack Cooper, as ‘How To Live’ is a faultless gem of indie-folk.
Dark post-punk ranging from high-energy ragers to ghostly, minimalist pieces, ‘When I Have Fears’ is a fine debut from Dublin’s The Murder Capital.
Alexandra Denton’s second Shura album ‘forevher’ essays the thrills and anxieties of falling in love.
Fusing harsh noise dynamics with blissful pop, Benjamin John Power’s fourth Blanck Mass album ‘Animated Violence Mild’ finds pleasure in pain, and vice versa.
