The 14th Xiu Xiu album ‘Girl With A Basket Of Fruit’ sees Jamie Stewart push their experimental tendencies even further than usual, and the results are astonishing.
A decade into their career, White Lies show more signs of evolving their grey, monolithic post-punk sound than ever before on ‘FIVE’.
Zach Condon’s latest Beirut album ‘Gallipoli’ finds him failing to re-capture the enthusiasm of his early efforts, but not maturing enough as a songwriter to move on either.
Girlpool’s third studio album ‘What Chaos Is Imaginary’ is uncharacteristically lethargic and lacking in ideas compared to their previous records.
Phoebe Bridgers and Conor Oberst explore shared passions and showcase each other’s personalities on ‘Better Oblivion Community Center’.
Full of short, clipped fusions of different genres, ‘Outer Peace’ is the most optimistic Toro Y Moi album yet.
All of the seemingly contradictory elements of ‘Why Hasn’t Everything Already Disappeared?’ add up to yet another strange but fascinating chapter in the history of Deerhunter and Bradford Cox.
Sharon Van Etten’s first album in nearly five years, ‘Remind Me Tomorrow’, is a significant sonic expansion but retains all of the qualities that made her name.
‘The Pains Of Growing’ is a comforting, well-written and executed pop record, but stylistically it still keeps you wondering what exactly Alessia Cara’s sound is.
Stepping up to the majors and littered with guest features, Anderson .Paak’s ‘Oxnard’ unfortunately sacrifices some of its creator’s personality for commercial gain.