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.
Inventive, energetic avant-pop bears up heavy thematic material on Tune-Yards’ dense latest effort ‘sketchy.’.
‘Today We’re The Greatest’ is a fine evolution for Australian indie-pop outfit Middle Kids, but one that perhaps lacks a bit of innovation.
While it perhaps won’t have the same impact as previous releases, ‘Chemtrails Over The Country Club’ is an artful evolution of Lana Del Rey’s image and persona.
‘Show Me How You Disappear’ is Jilian Medford’s most emotionally open Ian Sweet album yet.
Aidan Moffat and Malcolm Middleton are no longer men out of time in 2021 – ‘As Days Get Dark’ is a perfect soundtrack for gloomy times.
Debates about the nature of its release aside, what’s relevant is that ‘When You See Yourself’ is an extremely bland and predictable offering from an extremely bland and predictable band.
Urgent yet surprisingly heartfelt, ‘Emergency Telephone’ sees Billy Nomates expand her artistic credentials and establish herself as one of the most compelling new voices in post-punk today.
