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.
‘LUMP’, a collaboration between Laura Marling and Tunng’s Mike Lindsay, feels like you’re right in the studio amid the exchange of ideas.
‘Songs Of Praise’ is an outstanding debut both lyrically and instrumentally, and shows that Shame may fulfill all those breathless promises that they can save British guitar music.
The Mercury Prize list has certainly let us down this year, so we decided to make a list of what we thought should have made the cut.