Now in his fifties, Stephen Malkmus’s appetite for casually experimenting with his mellifluous indie-rock sound is only getting more voracious, as ‘Sparkle Hard’ demonstrates.
Alex Turner has certainly split the Arctic Monkeys fanbase with ‘Tranquility Base Hotel & Casino’, one of the strangest and most divisive albums to come from a major artist in a very long time.
Jon Hopkins’ ‘Singularity’ is one of the best-produced British dance albums of recent years.
‘All That Must Be’ is by no means a perfect record but is a record which continues to show the promise of George FitzGerald.
One of the most hyped-up debut albums of 2018, ‘Superorganism’ doesn’t fail to please, although the eight-piece group don’t really show us anything we didn’t already already know about them.
With limited but highly enjoyable successes on their fifth album ‘Always Ascending’, Franz Ferdinand can still claim to have relevance in 2018.
Recovering from tragedy and set for a serious chart success, ‘Microshift’ looks like it will be the ticket to mainstream visibility for Leeds’ Hookworms.
On ‘The House’, Aaron Maine attempts to hone in on the simple-minded yet charmingly authentic and relatable elements that made ‘Pool’ an enjoyable listen. Sadly, this might not have been the best approach.
A sudden full stop to a brilliant career, Wild Beasts will be sorely missed from Britain’s indie scene.
Protomartyr successfully make the leap to the prestigious Domino Records with a punky and ferociously intelligent fourth album ‘Relatives In Descent’.
