Melding sonorous guitars, pounding drums and reverb-drenched vocals, Brighton trio Our Girl deliver a solid indie-rock debut with ‘Stranger Today’.
White Denim aren’t even remotely current on their seventh album ‘Performance’, but it doesn’t prevent them from delivering an enjoyable album full of skewed, oddball insights.
Dev Hynes paints a beguiling portrait of horror and beauty, reflecting 2018 back on itself with his fourth Blood Orange album ‘Negro Swan’.
Tapping into their Broadway roots, the D’Addario brothers make a bold and engrossing move for The Lemon Twigs’ second album ‘Go To School’.
Confessional bedroom indie meets the sonic expanses of shoegaze on Basement Revolver’s debut album ‘Heavy Eyes’, with Chrisy Hurn’s vocals and lyrics marking her out as a serious talent.
After an excellent opening salvo, Interpol’s sixth album ‘Marauder’ suffers from monotony and a critical lack of ideas.
Without Panda Bear for this latest audio-visual project with Coral Morphologic, Animal Collective produce a curious yet compelling suite of watery psychedelia in ‘Tangerine Reef’.
Death Cab For Cutie’s ninth album ‘Thank You For Today’ does what it does extremely well, but 20 years into their career, it suffers from an almost total lack of surprise.
A strikingly beautiful and intensely personal triumph, Mitski Miyawaki’s fifth studio album ‘Be The Cowboy’ has firmly established her as one of the best young songwriters in music.
On their third album ‘Acts Of Fear And Love’, Slaves update their template and produce their most emotionally honest and thorough work to date.
