While it perhaps won’t have the same impact as previous releases, ‘Chemtrails Over The Country Club’ is an artful evolution of Lana Del Rey’s image and persona.
Former East India Youth man William Doyle’s latest album ‘Great Spans Of Muddy Time’ is populated exclusively by ideas executed better by other artists.
‘Show Me How You Disappear’ is Jilian Medford’s most emotionally open Ian Sweet album yet.
Aidan Moffat and Malcolm Middleton are no longer men out of time in 2021 – ‘As Days Get Dark’ is a perfect soundtrack for gloomy times.
Debates about the nature of its release aside, what’s relevant is that ‘When You See Yourself’ is an extremely bland and predictable offering from an extremely bland and predictable band.
Urgent yet surprisingly heartfelt, ‘Emergency Telephone’ sees Billy Nomates expand her artistic credentials and establish herself as one of the most compelling new voices in post-punk today.
‘For Those That Wish To Exist’ solidifies Architects’ status as one of British metal’s premier flag bearers.
Consisting of two lengthy compositions, Benjamin John Power’s latest Blanck Mass album ‘In Ferneaux’ is as frustrating as it is inventive.
Embracing a bigger sound than her acutely intimate early work, ‘Little Oblivions’ serves to amplify Julien Baker’s message.
‘The Shadow I Remember’ is as essential as Cloud Nothings have ever sounded, a collection of taut and cathartic meld of garage punk and post-hardcore.
