Alexandra Denton’s second Shura album ‘forevher’ essays the thrills and anxieties of falling in love.
Fusing harsh noise dynamics with blissful pop, Benjamin John Power’s fourth Blanck Mass album ‘Animated Violence Mild’ finds pleasure in pain, and vice versa.
Aided by St. Vincent on production, ‘The Center Won’t Hold’ boasts the widest range of sonic influences for any Sleater-Kinney album so far.
On ‘Any Human Friend’, Marika Hackman reclaims female sexuality in pop music and redefines it on her terms, through truthful and passionate songwriting.
Justin Vernon’s fourth Bon Iver album ‘i, i’ emphasises the balance that needs to be struck between community and the individual, and is his warmest music yet.
Two years on from her instant viral success, Claire Cottrill’s first proper Clairo album ‘Immunity’ showcases a vulnerable yet composed and open-minded artist.
‘Blood Year’, the seventh album by Canadian post-metal stalwarts Russian Circles, is sadly their weakest and most inconsistent record to date.
With their carefully observed retro pop stylings, Mini Mansions should sound far more enjoyable and effortless than they do on ‘Guy Walks Into A Bar…’
Kaiser Chiefs once accurately expressed dissatisfaction with the modern world, but now that 2019 is genuinely a mess, they’re making prosaic, generic ‘anthems’ with no distinguishing qualities.
Chance The Rapper’s first official album ‘The Big Day’ showcases Chancelor Bennett’s obvious talents, and addresses maturity and responsibility, but buckles under the weight of its ambition.