A gloriously messy melange of ideas which don’t all work, Warmduscher’s third album ‘Tainted Lunch’ is totally compelling nonetheless.
Big Thief’s second album of 2019 alone, ‘Two Hands’, is much more earth-bound and raw than its heavenly predecessor.
Embracing a gothic, more intimate style, Chelsea Wolfe opens up new avenues for her sound with latest album ‘Birth Of Violence’.
While it wears its Springsteen influences a little too heavily at times, ‘Hypersonic Missiles’ demonstrates Sam Fender’s storytelling qualities in abundance.
Greta Kline’s knack for clipped, emotionally disruptive songwriting under her Frankie Cosmos moniker remains as compelling as ever on ‘Close It Quietly’.
Lush, summery dream-pop dominates the mood on ‘Until The Tide Creeps In’, the debut album from new British indie hopefuls Penelope Isles.
A significantly more varied effort than last year’s ‘Sugar & Spice’ EP, Harriette Pilbeam’s debut album as Hatchie shows that dream-pop is a world with almost unlimited possibilities.
A carefully layered album of electropop and indie, the four-year wait for Amber Bain’s debut LP as The Japanese House, ‘Good At Falling’, was worth it.
Yak’s second album ‘Pursuit Of Momentary Happiness’ is a study in the tunnel-vision madness of the creative process and striving to get what you want.
Bring Me The Horizon’s sixth studio album ‘amo’ is a challenging, wildly inconsistent and often infuriating listen, but there’s treasures there for the stubborn.