Peter ‘Sonic Boom’ Kember’s first solo album of new material in 30 years, ‘All Things Being Equal’ is a pleasant throwback to a bygone age.
Arriving at a point of revolution and upheaval, ‘RTJ4’ transforms Run The Jewels from rowdy rascals to spiritual soldiers.
Hinds’ third studio album ‘The Prettiest Curse’ sees them expand stylistically and write their strongest material yet.
A strong element of the emperor’s new clothes about Sports Team’s ultra-generic debut album ‘Deep Down Happy’ speaks to a deeper problem in British ‘alternative’ music.
On their fourth album ‘Notes On A Conditional Form’, The 1975’s ambition often exceeds their grasp, sounding like a poorly curated playlist.
In writing, recording and producing a masterpiece in conjunction with collaborators remotely during a lockdown, Charli XCX shows herself to be one of pop’s most industrious and imaginative stars.
Gathering up a healthy number of B-sides and rarities among the prime cuts, Sleaford Mods’ first compilation ‘All That Glue’ is more worthwhile than your average greatest hits.
Acknowledging that the truths about our existence exist in the grey areas that elude binary definitions, Moses Sumney’s ‘græ’ is his second masterpiece.
Restricting himself to very short songs, Stephin Merritt’s latest Magnetic Fields album ‘Quickies’ is another stylish triumph.
Hayley Williams’ debut solo album ‘Petals For Armor’ showcases a different and interesting side to her personality outside of the context of Paramore.
