Marie Ulven’s first full-length girl in red album ‘if i could make it go quiet’ could transform her huge cult fanbase into mainstream success.
Recorded innovatively with water-related techniques, Crumb’s second album ‘Ice Melt’ is like psychedelia for mermaids.
Embracing funk and disco influences into their template of hard rock and chunky riffing, Royal Blood’s third album ‘Typhoons’ is admirable but slightly uneven.
On ‘Flat White Moon’, the Brewis brothers smooth out some of their sharper edges, but they don’t lose too much of their intelligence or personality in the process.
Easy-going bedroom indie-pop par extraordinaire, there’s absolutely everything right about Tomemitsu’s gorgeous ‘Sun’.
London Grammar bust out of the monotony of their first two albums with ‘Californian Soil’, their most vivid, experimental and powerful project yet.
Processing other bands’ better ideas without originality, The Snuts’ debut album ‘W.L.’ is as landfill as indie can get.
Dry, inventive and intelligent, Dry Cleaning’s ‘New Long Leg’ represents one of British post-punk’s most promising debut albums in years.
Delicate, polished but ultimately a bit anonymous, ‘DEACON’ loses its identity in Josiah Wise’s pursuit of perfection.
While it houses some real gems in its first half, Ben Howard’s fourth album ‘Collections From The Whiteout’ feels long-winded and occasionally directionless.
