Katherine Paul’s second Black Belt Eagle Scout album in barely over a year, ‘At The Party With My Brown Friends’ lacks some of the gut-punching immediacy of its predecessor.
Jeremy Nutzmann’s first proper Velvet Negroni album ‘Neon Brown’ blurs and erases the lines between genres.
Returning to a more basic, garage-punk sound, ‘Twelve Nudes’ is a short, consistent blast of intelligence and energy directed at the parlous state of society in 2019.
Melina Duterte brings collaborators on board for her second Jay Som album ‘Anak Ko’, and successfully expands her original bedroom pop vision.
Alexandra Denton’s second Shura album ‘forevher’ essays the thrills and anxieties of falling in love.
Fusing harsh noise dynamics with blissful pop, Benjamin John Power’s fourth Blanck Mass album ‘Animated Violence Mild’ finds pleasure in pain, and vice versa.
While it’s beautifully produced and often enjoyably OTT, Friendly Fires’ third record ‘Inflorescent’ isn’t worth the massive eight-year wait.
Aided by St. Vincent on production, ‘The Center Won’t Hold’ boasts the widest range of sonic influences for any Sleater-Kinney album so far.
On ‘Any Human Friend’, Marika Hackman reclaims female sexuality in pop music and redefines it on her terms, through truthful and passionate songwriting.
‘Blood Year’, the seventh album by Canadian post-metal stalwarts Russian Circles, is sadly their weakest and most inconsistent record to date.
