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.
The caustically funny ‘Pure Comedy’ sees Josh Tillman take aim at society and politics in his third album as Father John Misty.
Indie-folk quintet Horse Thief’s second album ‘Trials & Truths’ is perfectly pleasant, but fails to develop from their promising 2014 debut.
by John Tindale It took six albums for Marissa Nadler to find her true voice and there is no better attribution to that than the Bella Union record label which housed the 2014’s record July, a breakthrough for the singer. Since that record, Nadler has found her style as a pop virtuoso set to a brilliantly descriptive backdrop and that is never more present than in seventh record Strangers.
