Zach Condon’s latest Beirut album ‘Gallipoli’ finds him failing to re-capture the enthusiasm of his early efforts, but not maturing enough as a songwriter to move on either.
Tapping into their Broadway roots, the D’Addario brothers make a bold and engrossing move for The Lemon Twigs’ second album ‘Go To School’.
With its singularly weird and shockingly new vision for underground music at the end of the ’80s, Pixies’ debut album ‘Surfer Rosa’ is a unique kind of classic album.
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.
Meghan Remy’s newest batch of narratives dipped in concoctions of psych-rock, synth-pop, and the avant-garde provide angry, harsh, and in places downright bitter moments of vicarious catharsis.
Album number four from Tune-Yards is by no means the perfect record, and may in fact be Merrill Garbus’s worst yet, but it has a voice which deserves to be heard.
Mackenzie Scott’s third TORRES album ‘Three Futures’ has pushed into the highest echelon of women working at the peak of their powers in indie.
Sleep Well Beast represents a change in the sound of the band, but, fundamentally, is a record which makes sense in their discography, but that isn’t to say that it isn’t one of the most well-crafted and interesting listens of 2017.
Following two decent albums of sumptuous, dreamy indie-rock, Daughter’s next move is to provide the soundtrack to a video game.
10 Years On from Justin Vernon’s debut as Bon Iver, the album remains just as influential in hip-hop circles as it does in folk.