Overuse of microtonal riffs and progressions leads to the first falter of King Gizzard & The Lizard Wizard’s industrious career on 16th album ‘K.G.’
Lo-fi but polished and precise, the self-titled debut from Mamalarky is the result of deep musical knowledge and meticulous attention to detail.
While some ideas could have done with being explored further, Daniel Lopatin colourfully explores his memories of radio on ‘Magic Oneohtrix Point Never’.
Never originally intended for a conventional album release, Gorillaz’ first Song Machine collection ‘Strange Timez’ is dazzlingly diverse yet emotionally coherent, a perfect soundtrack to a world going wrong outside.
Featuring key members of the E Street Band live in the studio with minimal post-production, ‘Letter To You’ is as energetic as Bruce Springsteen has ever sounded.
On ‘Getting Into Knives’, the 19th Mountain Goats album, John Darnielle keeps his songwriting arsenal sharpened.
Making the leap from lo-fi bedroom pop to studio-bound, fully formed songcraft, Beabadoobee’s debut album ‘Fake It Flowers’ shows immense talent that’s still got space to develop.
Unlike his work with The National, it’s very much up to the listener with what they want to find in Matt Berninger’s debut solo album ‘Serpentine Prison’.
A four-hour monster of a remix album, there’s so much material on Foals’ ‘Collected Reworks’ that it’s worth your time to at least explore.
Emotionally unshackled but musically pristine, the contrasts of Future Islands’ sixth album ‘As Long As You Are’ make it their most rewarding so far.