The Internet’s fourth album ‘Hive Mind’ sees each member’s talents are rendered in the service of the others, making for a record that’s at the peak of contemporary R&B.
Picking apart the minutiae of his life with self-deprecating honesty with fifth and final album ‘Bringing The Backline’, Ellis Jones’ project Trust Fund will be sorely missed.
Deafheaven’s fourth album ‘Ordinary Corrupt Human Love’ sees the post-black metal masters blot their copybook for their first time, with an interesting but rather flawed outing.
After the harrowing self-doubt and heartbreak of ‘Dirty Projectors’, David Longstreth emerges into the light of hope and new love on ‘Lamp Lit Prose’.
With greater drama behind the vivid and bright-edged electro-pop, Years & Years’ second album ‘Palo Santo’ is much more compelling than their rather flat debut.
Unleashing sardonic and satirical barbs at life in 2018, Bodega’s debut album ‘Endless Scroll’ delivers handsomely on the hype.
‘Greatest Hits, Vol.1’, Warner’s attempt to sum up 25 years of The Flaming Lips in three-quarters of an hour, is both unnecessary and inadequate.
Art-punk trio Asylums follow-up a splenetic debut with a more thoughtful but no less moving second effort in ‘Alien Human Emotions’.
Rosa Walton and Jenny Hollingworth deliver a mature and inventive follow-up to a brilliant debut with the second Let’s Eat Grandma album ‘I’m All Ears’.
An introspective companion piece to last year’s ‘Humanz’, ‘The Now Now’ is a quiet triumph for Damon Albarn and Gorillaz but still comes nowhere near the heights of their glory years.
