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.
Danish trio Efterklang return after a seven-year break with the entrancing ‘Altid Sammen’, their first album to be sung entirely in their native tongue.
Her first solo album outside of Alabama Shakes, Brittany Howard roots ‘Jaime’ in her previous sound but leans to a more tender and experimental style.
On their self-titled fourth album, Chastity Belt fully and expertly embrace the more mature, anxious sound they began exploring last time out.
On ‘Why Me? Why Not.’, Liam Gallagher amplifies and doubles down on the successful parts of his 2017 solo debut.
Weaving something unmistakably fantastical into his bedroom pop aesthetic, Alex Giannascoli ascends to a new level on his latest (Sandy) Alex G album ‘House Of Sugar’.
‘Beneath The Eyrie’ is the sound of Pixies spoiling their own legacy, with a collection of largely pedestrian and uniformly mid-paced tracks.
Chicago’s Twin Peaks have sacrificed a bit too much of their unique character in the pursuit of maturity on fourth album ‘Lookout Low’.
Greta Kline’s knack for clipped, emotionally disruptive songwriting under her Frankie Cosmos moniker remains as compelling as ever on ‘Close It Quietly’.