Laetitia Tamko’s second Vagabon album takes the arresting vision of her 2017 debut and explodes it into something grander.
Although they’re now reduced to a two-piece, the fourth Battles album ‘Juice B Crypts’ is a madcap yet concise return to form.
Sam Shepherd’s second Floating Points album ‘Crush’ holds a mirror up to society, balancing chaos with beauty.
On their second full-length album ‘The Beast In The Blueprint’, Leeds-based freese trio turn vulnerability and anxiety into strength and virtue.
On sixth album ‘2020’, Richard Dawson narrates our modern, hyper-branded, anxious and rushed world.
Bodega’s punches often fail to connect on disappointingly brief and underwritten EP ‘Shiny New Model’.
Big Thief’s second album of 2019 alone, ‘Two Hands’, is much more earth-bound and raw than its heavenly predecessor.
The outspoken ‘Giants Of All Sizes’ is the most disrupted and unsettled Elbow album yet, but it’s not a move that entirely suits them.
On third album ‘Emerald Classics’, Swim Deep deliver a timely reminder of their effortless pop nous.
Louder, more emotional and more thoughtful than ever before, Zachary Cole Smith makes his finest DIIV album so far with ‘Deceiver’.
