Shame’s second album ‘Drunk Tank Pink’ takes a darker turn away from their debut, but comes off like an immaculately observed but ultimately slightly uninspired collection.
Fizzing with acidic wit and eloquent anger, ‘Spare Ribs’ is Sleaford Mods’ most sonically adventurous album so far, and one of their very best.
‘The Realist’ is an understated, graceful companion to Lanterns On The Lake’s exceptional ‘Spook The Herd’, and a perfect end to an era.
David Longstreth shares the songwriting duties with his bandmates on the ‘5EPs’ project, and Dirty Projectors are a reborn creative force.
Smashing Pumpkins’ ambition exceeds their grasp on ‘CYR’, but at least it’s admirably and respectably different for them.
Overuse of microtonal riffs and progressions leads to the first falter of King Gizzard & The Lizard Wizard’s industrious career on 16th album ‘K.G.’
While there are a healthy number of inspired takes on beautiful heartbreak originals, Marika Hackman’s ‘Covers’ is too uniformly sombre.
Medium and message combine perfectly on Tiña’s characterful and heart-warming DIY psych pop debut ‘Positive Mental Health Music’.
‘Tunng Presents… Dead Club’ may concern the end of life, but is emotionally instructive on how we should live in the here and now.
While some ideas could have done with being explored further, Daniel Lopatin colourfully explores his memories of radio on ‘Magic Oneohtrix Point Never’.
