Big Thief’s second album of 2019 alone, ‘Two Hands’, is much more earth-bound and raw than its heavenly predecessor.
The outspoken ‘Giants Of All Sizes’ is the most disrupted and unsettled Elbow album yet, but it’s not a move that entirely suits them.
Louder, more emotional and more thoughtful than ever before, Zachary Cole Smith makes his finest DIIV album so far with ‘Deceiver’.
On her fourth album ‘All Mirrors’, Angel Olsen effortlessly evolves into a synth-rock queen, embracing emotional turbulence and upheaval.
Although masterful in places, Wilco’s 11th album ‘Ode To Joy’ is hamstrung by flat, damp production and some uninspired writing.
On ‘Under Your Sky’, The Sherlocks deliver a criminally unimaginative sophomore album that serves as a whistle-stop tour of indie-rock’s clichés.
Although perhaps not as cutting-edge as ‘Atrocity Exhibition’, ‘uknowhatimsayin¿’ is Danny Brown’s most consistent effort.
Expressed with profound humanity, ‘Ghosteen’ is the most beautiful music that Nick Cave has ever made.
On their third album ‘Hot Motion’, Temples unfortunately over-polish their sound and lose many of the winning characteristics that made them so satisfying.
Canadian indie-rock veterans The New Pornographers keep things very much the same as ever on eighth album ‘In The Morse Code Of Brake Lights’ – and that’s a great thing.