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.
The Beths’ second album ‘Jump Rope Gazers’ sees them access a new level of depth and emotion in their songwriting.
Heavier and more robust than previous releases, PINS’ third album ‘Hot Slick’ nevertheless retains the playfulness that made them so enjoyable when they emerged.
Following a string of rough ‘n’ ready singles, Hotel Lux’s first EP ‘Barstool Preaching’ further justifies the excited words being uttered about them.
Lorely Rodriguez bounces back with her third album ‘I’m Your Empress Of’, more expressive and personal than her previous works.
Nandi Rose Plunkett’s second Half Waif album ‘The Caretaker’ is a beautiful and dark record, exuding resilience and vulnerability in equal measure.
Another album of heartache set to exquisitely produced dream-pop, Greg Gonzalez’s second Cigarettes After Sex album ‘Cry’ feels like an extension of the debut.
Laetitia Tamko’s second Vagabon album takes the arresting vision of her 2017 debut and explodes it into something grander.
Louder, more emotional and more thoughtful than ever before, Zachary Cole Smith makes his finest DIIV album so far with ‘Deceiver’.
Canadian indie-rock veterans The New Pornographers keep things very much the same as ever on eighth album ‘In The Morse Code Of Brake Lights’ – and that’s a great thing.