Kicking off his 1980s in superb fashion, David Bowie’s ‘Scary Monsters (And Super Creeps)’ was a perfect balance of
Some aspects of ‘Surviving’ might make it alarming for long-term fans, but the record is one of Jimmy Eat World’s most quietly innovative.
After a decade of being one of alternative pop’s most compelling underdog figures, ‘so sad so sexy’ is a disappointment for Lykke Li, feeling like she’s diluted herself to conform to the sound of modern pop.
Tinashe’s third album ‘Joyride’ displays plenty of vocal talent, but her presence is often obscured by her male collaborators.
Julian Casablancas’ side-project The Voidz returns with its second LP ‘Virtue’, which transcends its overly long and experimental nature to be a largely enjoyable listen.
A muddled mess of an album that sounds like a mid-life crisis being committed to record, ‘Man Of The Woods’ is an incoherent aberration from an artist who should know better.
After 20 years and nine Foo Fighters albums of straight-down-the-line power rock, you know what to expect from ‘Concrete And Gold’. But is that really enough?
Housing two of his most famous hits, Iggy Pop’s second solo album ‘Lust For Life’ turned a proto-punk icon into a mainstream star.
‘Painted Ruins’, Grizzly Bear’s first album since 2012, contains many of the same sounds but falls slightly short of the glories of ‘Veckatimest’ and ‘Shields’.
SZA’s much-anticipated debut album ‘Ctrl’ delivers handsomely, full of insightful and on-message slow jams and genre-mashing fun.