John Grant’s fourth album ‘Love Is Magic’ is an Eighties pop extravaganza that crystallizes the absurdity and vulnerability of romantic and sexual experiences.
‘Bottle It In’ is the first Kurt Vile record to potentially split its audience, despite its admirable and mostly successful attempts at expanding his sonic boundaries.
Although his influence is often taken for granted, it is important on the 50th anniversary of ‘Electric Ladyland’ to remember what Jimi Hendrix could do with a guitar.
Chan Marshall’s first Cat Power album in six years, ‘Wanderer’, is a succinct re-statement of all the musical values that make her such a cult icon.
‘Trench’ is the mature and well-crafted Twenty One Pilots album to date, achieving tonal coherence and with some of the best production in current alternative music and an intriguing dystopian narrative thread running through it.
Addressing love, loss and grief, as well as birth and youth, Big Thief singer Adrianne Lenker’s latest solo album ‘abysskiss’ is a melancholy triumph.
Ferocious and multi-faceted, Estrons long-awaited debut album ‘You Say I’m Too Much, I Say You’re Not Enough’ fully delivers on the years of expectation.
While it contains little in the way of surprises, Marissa Nadler’s eighth studio album ‘For My Crimes’ is dependably spellbinding and lovely.
A compelling fusion of stoner rock and doom metal that exponentially ups the power of both genres, Pigsx7’s full-length debut album ‘King Of Cowards’ is a triumph.
Dabbling further in electronics and with the rougher, more lo-fi end of indie, Hippo Campus waste no time in delivering a follow-up to last year’s debut album.
