Despite a handful of compelling moments, Ian Brown’s first solo album in a decade ‘Ripples’ sounds unfinished and under-produced.
‘King Of The Dudes’ represents an intelligent, unforced and un-stylised expression of Sunflower Bean’s influences.
Bring Me The Horizon’s sixth studio album ‘amo’ is a challenging, wildly inconsistent and often infuriating listen, but there’s treasures there for the stubborn.
While it sacrifices many of Toy’s traditional strengths, ‘Happy In The Hollow’ at least signifies change for a band at risk of becoming stale.
Phoebe Bridgers and Conor Oberst explore shared passions and showcase each other’s personalities on ‘Better Oblivion Community Center’.
Full of short, clipped fusions of different genres, ‘Outer Peace’ is the most optimistic Toro Y Moi album yet.
‘About The Light’ doesn’t radiate sunny optimism exactly, but there’s definitely a certain generosity and stability of spirit, the sense that Steve Mason is finally at peace with his place in the world.
The Twilight Sad’s fifth effort ‘It Won/t Be Like This All The Time’ is a vulnerable and profoundly human album, and that feels vital and timely in 2019.
All of the seemingly contradictory elements of ‘Why Hasn’t Everything Already Disappeared?’ add up to yet another strange but fascinating chapter in the history of Deerhunter and Bradford Cox.
Sharon Van Etten’s first album in nearly five years, ‘Remind Me Tomorrow’, is a significant sonic expansion but retains all of the qualities that made her name.
