Beck’s tenth studio album ‘Colors’ is fun, but ultimately lacks the real substance that made his previous glories so enduring.
The follow-up to his Mercury Prize-winning debut, ‘I Tell A Fly’ is a bold, experimental and largely successful step forward for Benjamin Clementine.
Pulsating, heady and intricately vulnerable, Kelela’s debut album ‘Take Me Apart’ is a strong musical statement in the world of innovative R&B.
‘As You Were’ is fundamentally solid, but it’s just too hard not to compare it to the brash public persona that Liam Gallagher has constructed and be a touch disappointed.
On their sophomore album ‘Wide Open’, Toronto’s Weaves exude increased confidence and identity that stands them in good stead for future efforts.
After a seven-year hiatus, it’s a great relief that Wolf Parade are in fine form as ever with their fourth album ‘Cry Cry Cry’.
Mackenzie Scott’s third TORRES album ‘Three Futures’ has pushed into the highest echelon of women working at the peak of their powers in indie.
Kieran Hebden’s ninth Four Tet album ‘New Energy’ sees him look to his own past for inspiration, leading to a terrific and accessible experience.
Protomartyr successfully make the leap to the prestigious Domino Records with a punky and ferociously intelligent fourth album ‘Relatives In Descent’.
Leeds’ electronic post-rockers Vessels push into more recognisably pop territory with their fourth album ‘The Great Distraction’.
