Gengahr’s second album ‘Where Wildness Grows’ shows some progression on their pleasant, shoegaze-inflected indie-pop formula.
Too much of ‘American Utopia’, the first solo album from David Byrne in 14 years, sounds hopelessly outdated for it to pass as anything other than okay.
The 15th of Montreal album ‘White Is Relic / Irrealis Mood’ might be the long-awaited re-affirmation for fans that Kevin Barnes is still capable of constructing something that resonates with more people than just himself.
Young Fathers’ third album ‘Cocoa Sugar’ sees a resolutely left-field and undefinable band venture slightly over the border into pop territory.
All the ingredients are there for Nap Eyes’ third album ‘I’m Bad Now’ to be a triumph, but it falls short of the cerebral thrills of its predecessors.
‘Clean’, Sophie Allison’s second Soccer Mommy album proper, will connect to an even wider audience using sweet melancholy sounds combined with lyrics of trauma, weakness, self-destruction and heartache.
Following up a highly promising debut with a mature and accomplished second effort, Lucy Dacus’ ‘Historian’ is one of the musical triumphs of 2018.
A confusing mess of bar-room blues, electrified country and traditional rock, ‘A Productive Cough’ sees Patrick Stickles and Titus Andronicus throw a significant curveball.
One of the most hyped-up debut albums of 2018, ‘Superorganism’ doesn’t fail to please, although the eight-piece group don’t really show us anything we didn’t already already know about them.
On ‘All Nerve’, The Breeders have shown themselves to still have a keen eye for groovy riffs and delightfully playful lyricism – there’s just not enough of it on show at times.
