Mixing up their previous shoegaze stylings with trappings of electronica, ‘Miserable Miracles’ is a fine musical evolution for Pinkshinyultrablast.
More Britpop throwback fun with DMA’S highly enjoyable second album ‘For Now’.
14 years on ice has not dulled A Perfect Circle’s political songwriting chops or pioneering alternative metal dynamics.
Breaking Benjamin’s sixth album ‘Ember’ is a monotonous, predictable and overly-clean disappointment.
Refracting the pop and rock psychedelia of the Sixties through the prism of modern songwriting and with soulful delivery, The Shacks have delivered what will surely be regarded as one of the best guitar debuts of 2018.
All the ingredients are there for Nap Eyes’ third album ‘I’m Bad Now’ to be a triumph, but it falls short of the cerebral thrills of its predecessors.
Although it’s taken a while to arrive, ‘All The Things I Never Said’ is a promising starting point for Pale Waves that leaves a lasting first impression.
Ryan Lott’s fifth Son Lux album ‘Brighter Wounds’ is the first one not to leave the listener dazzled, but it’s still a solid and rewarding effort.
After a five-year break and having moved from Sub Pop to Drag City, L.A.-based garage-rock duo No Age remind everyone of their talents with fifth album ‘Snares Like A Haircut’.
Linkin Park’s live album ‘One More Light Live’ acts as a more effective document for its parent album, and provides a fitting tribute to Chester Bennington.