Everything Everything’s attempts at creating bigger and bolder pop anthems on ‘Re-Animator’ fall flat as they delve too deeply into their influences and often discard what made them such an engaging band to begin with.
A conscious re-tread of the whimsical psychedelia that established The Flaming Lips in the mainstream 20 years ago, ‘American Head’ is a qualified triumph.
A clearing house for old ideas, Bill Callahan’s ‘Gold Record’ gives off a cosy and instantly familiar feeling – and that’s a very good thing.
Despite being titled ‘ENERGY’, the Lawrence brothers’ third Disclosure album often lacks the creative spark of ingenuity, content to rest in autopilot.
The first Bright Eyes album in nine years, ‘Down In The Weeds, Where The World Once Was’ is a consistent and direct display of Conor Oberst’s songwriting power.
Alicia Bognanno grows ever more confident on Bully’s third album ‘SUGAREGG’, a cathartic soundtrack to picking up the pieces and starting again.
The D’Addario brothers’ third album ‘Songs For The General Public’ is the most effective realisation of their aesthetic of classic rock and pop influences so far.
An accomplished debut album of understated, atmospheric folk-rock from Philadelphian Lily McKown that leaves space for future growth.
A return to form, Biffy Clyro’s eclectic eighth album ‘A Celebration Of Endings’ suggests a number of possible futures.
For every win on Glass Animals’ eclectic third album ‘Dreamland’, there’s another moment of excruciating cringe.