Big Thief’s second album of 2019 alone, ‘Two Hands’, is much more earth-bound and raw than its heavenly predecessor.
The outspoken ‘Giants Of All Sizes’ is the most disrupted and unsettled Elbow album yet, but it’s not a move that entirely suits them.
Although masterful in places, Wilco’s 11th album ‘Ode To Joy’ is hamstrung by flat, damp production and some uninspired writing.
On ‘Under Your Sky’, The Sherlocks deliver a criminally unimaginative sophomore album that serves as a whistle-stop tour of indie-rock’s clichés.
Although perhaps not as cutting-edge as ‘Atrocity Exhibition’, ‘uknowhatimsayin¿’ is Danny Brown’s most consistent effort.
Expressed with profound humanity, ‘Ghosteen’ is the most beautiful music that Nick Cave has ever made.
Canadian indie-rock veterans The New Pornographers keep things very much the same as ever on eighth album ‘In The Morse Code Of Brake Lights’ – and that’s a great thing.
On their self-titled fourth album, Chastity Belt fully and expertly embrace the more mature, anxious sound they began exploring last time out.
On ‘Why Me? Why Not.’, Liam Gallagher amplifies and doubles down on the successful parts of his 2017 solo debut.
Embracing a gothic, more intimate style, Chelsea Wolfe opens up new avenues for her sound with latest album ‘Birth Of Violence’.
