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.
A vibrant celebration of music and human emotions set to sleek, timeless dance-pop, ‘Róisín Machine’ is Róisín Murphy’s finest solo album to date.
On ‘Amanita Pantherina’, Cabbage finally settle into their identity and sound on a range of tracks displaying dynamism and wit.
A daring and expertly crafted statement that’s a product of its political climate, ‘The Ascension’ is another masterpiece from Sufjan Stevens.
‘Shore’ is Robin Pecknold’s most sun-drenched and stripped back Fleet Foxes album yet – something that both works in its favour and against it.
IDLES’ third album ‘Ultra Mono’ lacks the off-kilter energy of their debut and the joie-de-vivre of their second, but hits just about hard enough.