After 17 years, Phil Elverum resurrects The Microphones for a beguiling, cryptic album consisting of one long track.
Despite many flashes of genius, Will Toledo’s latest Car Seat Headrest album ‘Making A Door Less Open’ is fundamentally confused and split in its identity.
An album suffering a slight identity crisis, split between jazz, electronica and punk, ‘100% Yes’ is a blip for the talented Melt Yourself Down.
Descriptors like ‘outsider’ and ‘underdog’ completely fail to do justice to the eternal legacy of Daniel Johnston.
Shabaka Hutchings’ brilliant career continues with the invigorating sophomore record from The Comet Is Coming.
Snapped Ankles’ second record ‘Stunning Luxury’ is a whirring, unsettled mix of post-punk, krautrock and electronica, and is frequently absolutely brilliant.
‘Assume Form’ is not the kind of cold and subdued album for which many have pigeonholed James Blake, but a warm release, full of intricate hooks and devastating lyricism.
After years of being the support act for indie stalwarts, it’s time for The Japanese House to take the centre-stage for themselves – and, by and large, they do this well.
An exhilarating 22-minute blast of bizarre and inventive fun, ‘FM!’ might be a detour in the journey of Vince Staples but shows exactly what music ought to be in 2018.
While it contains little in the way of surprises, Marissa Nadler’s eighth studio album ‘For My Crimes’ is dependably spellbinding and lovely.