After the harrowing self-doubt and heartbreak of ‘Dirty Projectors’, David Longstreth emerges into the light of hope and new love on ‘Lamp Lit Prose’.
With greater drama behind the vivid and bright-edged electro-pop, Years & Years’ second album ‘Palo Santo’ is much more compelling than their rather flat debut.
Unleashing sardonic and satirical barbs at life in 2018, Bodega’s debut album ‘Endless Scroll’ delivers handsomely on the hype.
Art-punk trio Asylums follow-up a splenetic debut with a more thoughtful but no less moving second effort in ‘Alien Human Emotions’.
Rosa Walton and Jenny Hollingworth deliver a mature and inventive follow-up to a brilliant debut with the second Let’s Eat Grandma album ‘I’m All Ears’.
An introspective companion piece to last year’s ‘Humanz’, ‘The Now Now’ is a quiet triumph for Damon Albarn and Gorillaz but still comes nowhere near the heights of their glory years.
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.
Kamasi Washington’s latest epic double-album ‘Heaven And Earth’ is another artistic triumph, the band-leader executing ambitious arrangements without irony or pretension.
While the intensity, shock tactics and style fusion is still intact, Death Grips’ sixth album ‘Year Of The Snitch’ veers close to the conventional in some places.
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.