Sophie Allison’s second Soccer Mommy album ‘Color Theory’ is much darker and more unflinchingly personal than her sensational debut.
Rich in autobiographical elements as well as modern electronic bangers, Claire Boucher’s fifth Grimes album ‘Miss Anthropocene’ is a slow-burner but compelling.
Mackenzie Scott’s fourth TORRES album ‘Silver Tongue’ contains some of her boldest compositions to date.
‘Making A New World’ could have been Field Music’s masterpiece, but its message is often buried underneath layers of wilfully impenetrable art-rock.
With ‘Girl’, North London trio Girl Ray deliver a radiant, summery sophomore effort as the country heads into winter.
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’.