While its highlights are truly tremendous, BDRMM’s semi-eponymous debut ‘Bedroom’ is very front-heavy, becoming bogged down in monotony.
Dwelling on the anxieties of imminent parenthood, former Maccabees lead singer Orlando Weeks’ debut solo album ‘A Quickening’ is a very human listen.
Less summery and shiny than Haim’s previous albums, ‘Women In Music Pt. III’ is a tough, forthright statement of importance.
The first of a planned series of four albums, ‘KiCk i’ is the most ‘pop’ of all of Arca’s albums to date, yet retains the avant-garde cutting edge that has always made her music so compelling.
Fusing funky rhythms with the grit of garage-rock and punk, transatlantic outfit Pottery deliver one of the debuts of 2020 with ‘Welcome To Bobby’s Motel’.
On their third album ‘Mordechai’, Khruangbin take their globe-trotting aesthetic in a more conventional pop direction, but it’s no less rewarding.
Addressing important issues on gender expectations with style and wit, ‘Kitchen Sink’ is Nadine Shah’s finest album to date.
Even more confident than her accomplished debut, Phoebe Bridgers’ ‘Punisher’ elevates potentially depressing material into something life-affirming.
Stripped down and delivered with a hushed ambiance, ‘Rough And Rowdy Ways’ is possibly Bob Dylan’s most straightforward album ever.
‘To Love Is To Live’, the debut solo album from Savages’ lead singer Jehnny Beth, is an uncompromising tackling of the dark sides of life as well as a celebration of its highs.
