Swapping stern angularity for warm, Seventies-inspired sounds, ‘Daddy’s Home’ is a personal affair for Annie Clark but perhaps the least knowable St. Vincent album.
Covering louche indie-rock, free jazz and spoken-word meditations, the creativity of Iggy Pop’s ‘Free’ is remarkable for an artist now in his seventies.
Local Natives’ fourth album ‘Violet Street’ is a much freer expression of their talents than any of their other records.
HEALTH’s doom-laden noise rock formula is still compelling on ‘Vol. 4 :: Slaves Of Fear’, but needs to be melded with new ideas.
Rhye’s new release ‘Blood’ reflects both the on-stage and off-stage changes that took place around the project over the last five years, while also sticking to exactly the same style and mood that made their debut a break-out bedroom hit five years ago.
‘MASSEDUCTION’ can be read both as St. Vincent being seduced into significant Pop culture relevancy and, conversely, her taking the entire medium of celebrity and Pop and making it work for her. Choosing to interpret it as the latter makes for one of the best and consistent listens of the year.
Three years after she quit Crystal Castles, Alice Glass drops a six-track solo EP that contains few traces of her previous work.
Now on their fifth album, ‘A Black Mile To The Surface’ shows Manchester Orchestra fully in tune with what its audience expects.
by Matthew Langham Produced by Josh Homme of Queens Of The Stone Age, Iggy Pop’s 17th studio album has been rumoured in some quarters to be his final one, and features a star-studded line-up. Homme himself plays guitars alongside contributions from Arctic Monkeys’ Matt Helders on drums and QOTSA’s own Dean Fertita. Dropping a sly clue as to his possible retirement with the brilliant title Post Pop Depression – who knows