Michelle Zauner delivers a stylish and diverse album of shape-shifting pop for her third Japanese Breakfast album ‘Jubilee’.
Shame’s second album ‘Drunk Tank Pink’ takes a darker turn away from their debut, but comes off like an immaculately observed but ultimately slightly uninspired collection.
A soundtrack for isolation and reflection, Kevin Morby’s latest album ‘Sundowner’ is likely to be remembered as an outlier in his discography.
The first Bright Eyes album in nine years, ‘Down In The Weeds, Where The World Once Was’ is a consistent and direct display of Conor Oberst’s songwriting power.
On their third album ‘Mordechai’, Khruangbin take their globe-trotting aesthetic in a more conventional pop direction, but it’s no less rewarding.
Dan Bejar’s 12th Destroyer album ‘Have We Met’ reaches the heights of his songwriting capability, but frustratingly infrequently.
A politicised and socially aware update on their debut, full of soulful and orchestrated swells, ‘American Love Call’ sees Durand Jones & The Indications get serious.
Exploring church music and the nature of faith in the modern world, ‘Oh My God’ is yet another excellent album in Kevin Morby’s catalogue.
Phoebe Bridgers and Conor Oberst explore shared passions and showcase each other’s personalities on ‘Better Oblivion Community Center’.
A strikingly beautiful and intensely personal triumph, Mitski Miyawaki’s fifth studio album ‘Be The Cowboy’ has firmly established her as one of the best young songwriters in music.
