Sharon Van Etten’s first album in nearly five years, ‘Remind Me Tomorrow’, is a significant sonic expansion but retains all of the qualities that made her name.
A musical collaboration borne from their PEOPLE project, Aaron Dessner and Justin Vernon are a match made in indie-rock heaven on ‘Big Red Machine’.
Unknown Mortal Orchestra’s fourth album ‘Sex & Food’ contains much musical progression, but still showcases Ruban Nielson’s unique songcraft.
Preoccupations’ third record ‘New Material’ is just as nihilistic and apocalyptic as their earlier albums, yet also more melodic and accessible.
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.
B-sides album ‘Phases’ is an interesting and thoroughly worthwhile accompaniment to Angel Olsen’s three studio albums thus far.
Reservoir is a thrilling listen from the off and is a great example of where Gordi is as an artist. There is still room to learn, but, this is a debut album full of interesting ideas and blissful textures which many artists would crave for.
10 Years On from Justin Vernon’s debut as Bon Iver, the album remains just as influential in hip-hop circles as it does in folk.
‘Hang’ frequently sounds brilliant, but Foxygen’s noise is occasionally weightless.
’22, A Million’ not only manages to stray from anything clichéd but reasserts Justin Vernon’s status as one of the few artists that truly manages to make an art form out of his melancholic ponderings of the world around him.