‘Bottle It In’ is the first Kurt Vile record to potentially split its audience, despite its admirable and mostly successful attempts at expanding his sonic boundaries.
Ferocious and multi-faceted, Estrons long-awaited debut album ‘You Say I’m Too Much, I Say You’re Not Enough’ fully delivers on the years of expectation.
A compelling fusion of stoner rock and doom metal that exponentially ups the power of both genres, Pigsx7’s full-length debut album ‘King Of Cowards’ is a triumph.
Joyce Manor continue to tack away from their older punk mannerisms and towards an enmeshment of ‘90s alternative rock, Britpop and shoegaze on ‘Million Dollars To Kill Me’.
Major label indie-rock hopefuls Spring King deliver a disappointing follow-up to a strong debut with ‘A Better Life’.
Intended as a reaction to the tepid reception to last year’s ‘Revival’, Eminem’s surprise new album ‘Kamikaze’ still finds him miles off his best form.
We know Deaf Havana are capable of greatness, which makes the overwrought and bland ‘Rituals’ so disappointing and frustrating.
Now on their fifth album, Spider Bags are still tinkering with their off-kilter mix of punk, indie, country and blues on ‘Someday Everything Will Be Fine’.
Released 25 years ago, ‘Siamese Dream’ turned Smashing Pumpkins from stars of the independent scene to the nerve-centre of America’s rock mainstream.
Deafheaven’s fourth album ‘Ordinary Corrupt Human Love’ sees the post-black metal masters blot their copybook for their first time, with an interesting but rather flawed outing.