‘Social Cues’ represents a significant revival of artistic fortunes for Matt Shultz and Cage The Elephant.
Spanning 10 years, three albums and an EP, ‘The Beirut School’ is an excellent snapshot of what makes Lebanese indie-pop activists Mashrou’ Leila so compelling.
On their third album ‘Strange Creatures’, Drenge tweak and experiment with their hard, fast and loud post-grunge racket, with compelling results.
It’s business as usual for former Hüsker Dü frontman Bob Mould on his 13th solo album ‘Sunshine Rock’, one of the least gloomy and most reflective works he’s ever produced.
A flagstone for the mainstream success of pop-punk in the Nineties, the youthful energy of Green Day’s third album ‘Dookie’ is timeless.
It’s very much business as usual on Dinosaur Jr. frontman J Mascis’ latest solo offering ‘Elastic Days’ – and that’s a really great thing.
Much more than just battle-hardened survivors, The Prodigy’s latest album ‘No Tourists’ finds them in fresher form than at any point in the last decade.
Although it’s brief, Public Service Broadcasting remain on top form with their latest EP ‘White Star Liner’, a moving evocation of the construction, sinking and discovery of the Titanic.
Greta Van Fleet explore ’70s rock more broadly and expertly than some critics have admitted, but ‘Anthem Of The Peaceful Army’ is a pretty shallow experience.
‘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.