Solange’s surprise new album ‘When I Get Home’ is a meditation on home, dreams, growth and feminine intuition, packaged in futuristic jazz and funk-inspired art-pop.
One of the most anticipated British debuts of 2018, The Blinders deliver a fully rounded rock statement with ‘Columbia’ but leave their future open.
Although she has still not followed it up, ‘The Miseducation Of Lauryn Hill’ remains one of the most influential American records of the Nineties.
The Internet’s fourth album ‘Hive Mind’ sees each member’s talents are rendered in the service of the others, making for a record that’s at the peak of contemporary R&B.
Leon Bridges’ sophomore album ‘Good Thing’ is more rooted in the present than the past, while leaving the more classical features of his sound and delivery intact.
Toiling to resolve their populist tendencies with artiness, ‘Resistance Is Futile’ might be the most emotionally honest Manic Street Preachers album yet.
George Ezra’s second record ‘Staying At Tamara’s’ is pure escapism – a decently put together, well-produced but slightly artless half an hour.
It’s not quite the return to the days of ‘Kids’ and ‘Time To Pretend’, but MGMT’s fourth album ‘Little Dark Age’ is certainly their most focussed and pop-orientated in the decade since those glory days.
First Aid Kit’s third album ‘Ruins’ suffers from same-iness, but the Soderberg sisters are in fine vocal form and it’s a comforting, if rarely challenging listen.
Returning after a seven-year hiatus, The Neptunes’ recording vehicle N*E*R*D* still suffers from the same flaws and lack of consistency on ‘No_One Ever Really Dies’.