Examining traditions of femininity in folk music, Jesca Hoop has created a complex and sometimes beautiful collection in fifth album ‘Stonechild’.
Delivered with restless energy and no small amount of humour, Mush’s debut EP ‘Induction Party’ continues to mark them out as one of the best British indie hopefuls.
‘Black Rainbow Sound’ sees Leeds-based Menace Beach upgrade their template by successfully building in synths and electronics into their indie-psych sound.
Ian Black’s second Slug album ‘HiggledyPiggledy’ is an erratic and irregular beast, but there’s enough for everybody to enjoy.
Re-energised in parts but flat and non-distinct in too many others, ‘Semicircle’ sees The Go! Team attempt to get back to basics.
On their sophomore album ‘Wide Open’, Toronto’s Weaves exude increased confidence and identity that stands them in good stead for future efforts.
Big Balloon does nothing but reaffirm the view that if it’s quirky fun you’re looking for, then Dutch Uncles is the answer
Menace Beach’s scuzzy second album ‘Lemon Memory’ continues the good work of their debut, but doesn’t really build on it.
by Ollie Rankine Having been recorded whilst vocalist, Channy Leaneagh has been expecting the birth of her second child, Poliça have returned after nearly a three year break with their third studio album, United Crushers. Although the Minnesota quintet have retained the infectious synthpop tones demonstrated during their previous two records, United Crushers introduces a newfound rawness that suitably accompanies the album’s murky composition.
by Matthew Langham Recorded in their hometown of Sunderland, Field Music, consisting Peter and David Brewis, return with their sixth studio album looking to capitalise on the Mercury-nominated Plumb, and is considered to be one of their most accessible records to date. The duo have previously been compared to the likes of XTC, Talking Heads and Hot Chip – and Commontime perfectly highlights how Field Music are as far removed from