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.
‘Fleet Foxes’, one of the most perfectly formed and influential debut albums of the Noughties, turns 10 years old.
On ‘7’, Victoria Legrand and Alex Scally make their most dramatic alterations yet to the tried-and-tested Beach House formula, and it’s a creative risk that pays off handsomely.
Ezra Furman’s latest album ‘Transangelic Exodus’ is dynamic and forward-looking in musical terms, and frees up its creator for his unique storytelling style.
Under the aegis of Simon Raymonde (ex-Cocteau Twins), Bella Union is one of the most well-regarded independent record labels in the business.
Lost Horizons’ ‘Ojalá’ is an album that makes you feel melancholic and nostalgic, but for all the wrong reasons.