Recorded after years of personal struggle, Holly Lapsley Fletcher’s long-awaited second album ‘Through Water’ is therapeutic and cathartic.
Grittier, darker and more emotionally honest than anything he’s ever done, ‘After Hours’ represents a step forward for Abel Tesfaye.
Nocturnal vignettes of the modern dating landscape, ‘The Night Chancers’ is Baxter Dury’s most complete album yet.
‘You Know I’m Not Going Anywhere’ is a slightly disappointing and anonymous fourth album from The Districts, whose previous output had been so intriguing.
Circa Waves’ fourth release consists of two mini-albums encompassing happiness and sadness. An ambitious concept that’s disappointingly more of the same.
Kieran Hebden’s latest Four Tet album ‘Sixteen Oceans’ is the soundtrack of an artist reflecting on his achievements and exploring many ideas at once.
Porridge Radio’s second studio album ‘Every Bad’ is sharper and more detailed than their 2016 debut.
Sarah Barthel and Josh Carter’s fourth Phantogram album ‘Ceremony’ is like a well-acted film without a strong enough story.
Letting our collective anxiety about the state of the world stew in glacial, literate pop, Meghan Remy’s latest U.S. Girls album ‘Heavy Light’ is different to her previous masterpiece.
Vibrant, soulful and urgent, Newcastle’s Lanterns On The Lake reach a new level with fifth album ‘Spook The Herd’.
