Everything Everything’s attempts at creating bigger and bolder pop anthems on ‘Re-Animator’ fall flat as they delve too deeply into their influences and often discard what made them such an engaging band to begin with.
A clearing house for old ideas, Bill Callahan’s ‘Gold Record’ gives off a cosy and instantly familiar feeling – and that’s a very good thing.
Despite being titled ‘ENERGY’, the Lawrence brothers’ third Disclosure album often lacks the creative spark of ingenuity, content to rest in autopilot.
The first Bright Eyes album in nine years, ‘Down In The Weeds, Where The World Once Was’ is a consistent and direct display of Conor Oberst’s songwriting power.
Alicia Bognanno grows ever more confident on Bully’s third album ‘SUGAREGG’, a cathartic soundtrack to picking up the pieces and starting again.
The Killers’ sixth album ‘Imploding The Mirage’ has solid and touching moments amid the usual Springstonian bombast.
The D’Addario brothers’ third album ‘Songs For The General Public’ is the most effective realisation of their aesthetic of classic rock and pop influences so far.
A return to form, Biffy Clyro’s eclectic eighth album ‘A Celebration Of Endings’ suggests a number of possible futures.
A gorgeous, reflective paean to murdered Chilean musician and activist Victor Jara, James Dean Bradfield’s new solo album ‘Even In Exile’ is an understated gem.
Songs designed for the live arena translate solidly to record on Sea Girls’ debut ‘Open Up Your Head’.
