Vibrant, soulful and urgent, Newcastle’s Lanterns On The Lake reach a new level with fifth album ‘Spook The Herd’.
Beach House’s 2010 album ‘Teen Dream’ was the joyous sound of a band finally discovering the full extent and power of its own voice.
Returning to a more basic, garage-punk sound, ‘Twelve Nudes’ is a short, consistent blast of intelligence and energy directed at the parlous state of society in 2019.
One can only hope that Modern Nature isn’t a one-off project for former Ultimate Painting star Jack Cooper, as ‘How To Live’ is a faultless gem of indie-folk.
A concept album revolving around a giant baby ruling a city, ‘King’s Mouth’ represents another good access point to the weird and wonderful world of The Flaming Lips.
Energetic, creative and brilliantly unpredictable, debut album ‘Birthday’ shows why Pom Poko have been one of the most talked-about newcomers in indie.
John Grant’s fourth album ‘Love Is Magic’ is an Eighties pop extravaganza that crystallizes the absurdity and vulnerability of romantic and sexual experiences.
While it contains little in the way of surprises, Marissa Nadler’s eighth studio album ‘For My Crimes’ is dependably spellbinding and lovely.
Painstakingly constructed on ProTools, Jason Pierce’s eighth Spiritualized album ‘And Nothing Hurt’ is a terrific technical achievement and a satisfying musical one.
Josh Tillman’s fourth Father John Misty album ‘God’s Favorite Customer’ marks a new chapter in his career, channelling his wit and self-deprecation into his most emotionally brutal record yet.