Florence Welch’s fourth Florence And The Machine album ‘High As Hope’ is a more mature and grounded experience than her previous efforts, but no less enjoyable.
Panic! At The Disco’s ever-evolving aesthetic sees Brendon Urie imagine what a serotonin-pumped Fall Out Boy might have sounded like in the 1920s.
On ‘Kids See Ghosts’, Kanye West and Kid Cudi find in each other the perfect creative foil – Cudi setting the mood and bringing lyrical honesty, while West provides the edge with his verses and ingenious sampling.
Eclectic yet completely coherent, Neko Case’s eighth solo album ‘Hell-On’ is a triumph for female storytelling in modern music.
‘Fleet Foxes’, one of the most perfectly formed and influential debut albums of the Noughties, turns 10 years old.
Leon Bridges’ sophomore album ‘Good Thing’ is more rooted in the present than the past, while leaving the more classical features of his sound and delivery intact.
What we got up to at Live At Leeds 2018!
Mark Oliver Everett’s 12th Eels album ‘The Deconstruction’ contains everything in its right place, yet the tone is most definitely more optimistic than usual.
A surprise mini-album released in time for Easter, ‘My Dear Melancholy’ sees Abel Tesfaye leaning a little more towards his origins and away from the fanbase-splitting ‘Starboy’.
An underrated, ’60s-indebted gem that divided fans and caused Panic At The Disco to split in two, ‘Pretty. Odd.’ has aged incredibly well over the last decade.
