Doves’ first album in 11 years, ‘The Universal Want’ is as original and soulful a comeback record as you’re ever likely to see.
Declan McKenna matures and expands his sound on the glam-inspired ‘Zeros’, which brims with moments of vibrancy that outweigh the occasional over-exuberance.
The live genesis of Jarvis Cocker’s latest project JARV IS… means that ‘Beyond The Pale’ has both its charms and flaws.
A clearing house for old ideas, Bill Callahan’s ‘Gold Record’ gives off a cosy and instantly familiar feeling – and that’s a very good thing.
Despite being titled ‘ENERGY’, the Lawrence brothers’ third Disclosure album often lacks the creative spark of ingenuity, content to rest in autopilot.
More personal and wide-ranging than her 2017 breakout, ‘Inner Song’ shows Kelly Lee Owens to be one of the country’s finest electronic music artists.
The first Bright Eyes album in nine years, ‘Down In The Weeds, Where The World Once Was’ is a consistent and direct display of Conor Oberst’s songwriting power.
Alicia Bognanno grows ever more confident on Bully’s third album ‘SUGAREGG’, a cathartic soundtrack to picking up the pieces and starting again.
The Killers’ sixth album ‘Imploding The Mirage’ has solid and touching moments amid the usual Springstonian bombast.
The D’Addario brothers’ third album ‘Songs For The General Public’ is the most effective realisation of their aesthetic of classic rock and pop influences so far.
