The meteoric ascent of Leeds’ own Yard Act culminates in ‘The Overload’, a fine example of sprechsegang post-punk but one that doesn’t forget the human touch.
A unique new project with members from across Scotland’s thriving music scene.
Bully’s latest effort is passable, but rarely stirs up the same visceral punk rock fun of their debut.
The Toronto duo offer up another dosage of rhythmic riffs on their 3rd studio album.
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.
Reservoir is a thrilling listen from the off and is a great example of where Gordi is as an artist. There is still room to learn, but, this is a debut album full of interesting ideas and blissful textures which many artists would crave for.
TCFN is in no way the worst album ever, but it is the worst album Liars have released, whether it be through its deliberately painful drones and grating textures, or just poor songwriting Andrew has made a huge misstep on this record.
Action Bronson is as charismatic as ever on his first album in two years.
After the death of Michelle Zauner’s mother ‘Soft Sounds From Another Planet’ is a next-step-forward from her 2016 debut album ‘Psychopomp’ an album that, whilst harbouring indie-pop qualities, carries the matters of loss and grief.
Beach House haven’t broken any barriers with their ’B-Sides And Rarities’, but they continue to please their forever-dedicated fans.