Following a sensational debut is never easy, but Wolf Alice make it seem like a breeze with their second full-length ‘Visions Of A Life’.
Given the injustices of the state of the world in 2017 that it rages against, Godspeed You! Black Emperor’s sixth album ‘Luciferian Towers’ is oddly flat.
The first album from The Killers in five years, ‘Wonderful Wonderful’, sees the band struggling to break with their old ways, but only sometimes sucessfully.
Cut Copy’s fifth album ‘Haiku From Zero’ does exactly what music marketed as “vintage” should do, but fails to do so memorably.
Chelsea Wolfe’s fifth album ‘Hiss Spun’ is so remorselessly, unrelentingly bleak that it becomes physically tiring.
With a fourth exceptional album in a row, The Horrors are now surely the best British guitar-based band of the last ten years.
Hundred Waters’ third album ‘Communicating’ sees them spread further from their folktronica origins to make themselves relevant and interesting all over again.
After 20 years and nine Foo Fighters albums of straight-down-the-line power rock, you know what to expect from ‘Concrete And Gold’. But is that really enough?
A violent flinch from the spotlight, Nirvana’s final album ‘In Utero’ was a rare example of a huge band challenging its listeners rather than appeasing them with more of the same.
Joyous, highly melodic indie power-pop from Toronto’s Alvvays on their second album ‘Antisocialites’.
