A concept album about girl vampire bikers in Eighties’ L.A., Natasha Khan’s fifth Bat For Lashes album ‘Lost Girls’ is her most all-encapsulating work yet.
Jana Hunter’s forthright songwriting collides with immersive synth-driven music on Lower Dens’ fourth album ‘The Competition’.
The swirling, punk-inspired explorations of indie, krautrock and jazz influences on Squid’s debut EP ‘Town Centre’ show why they’re so hotly tipped.
On his second album ‘404’, Barns Courtney sounds like he’s hanging desperately on to the coat-tails of others as he beats a path to commercial success.
Covering louche indie-rock, free jazz and spoken-word meditations, the creativity of Iggy Pop’s ‘Free’ is remarkable for an artist now in his seventies.
The third Oso Oso album, ‘Basking In The Glow’, sees Jade Lilitri reflect on making mistakes in life.
Three years in the making, Whitney’s second album ‘Forever Turned Around’ is just like its predecessor: earnest yet refreshingly free.
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!’
