Consisting of two lengthy compositions, Benjamin John Power’s latest Blanck Mass album ‘In Ferneaux’ is as frustrating as it is inventive.
‘The Shadow I Remember’ is as essential as Cloud Nothings have ever sounded, a collection of taut and cathartic meld of garage punk and post-hardcore.
Balancing beauty and meditation with violence and anger, ‘Carnage’ is a strange, near-flawless display of Nick Cave’s artistry.
On fourth album ‘Glowing In The Dark’, Django Django partly rediscover the danceable art-rock roots that established them a decade ago.
Slowthai’s paradoxical sophomore album ‘TYRON’ delves into the duality of his psyche, yielding some career highlights that are occasionally let down by underdeveloped ideas.
Mush’s second album ‘Lines Redacted’ feels musically over-stylised, which blunts the impact of their excellent lyrics.
Drawing on more diverse influences than normal, Foo Fighters’ 10th album ‘Medicine At Midnight’ feels like a transitional statement.
Reimagining their post-punk sound along more diverse lines, Goat Girl’s second album ‘On All Fours’ is an unmitigated triumph.
Emotions are only dealt with on a superficial level on Arlo Parks’ disappointing debut album ‘Collapsed In Sunbeams’.
Journeying inwards and exploring different rhythms and textures, Bicep’s second album ‘Isles’ is a bit less than the sum of its parts.
