‘Transfiguration Highway’, the sixth album from Canadian indie act Little Kid, is a warm and welcoming record recalling folk from the Sixties and Seventies.
While its highlights are truly tremendous, BDRMM’s semi-eponymous debut ‘Bedroom’ is very front-heavy, becoming bogged down in monotony.
Dwelling on the anxieties of imminent parenthood, former Maccabees lead singer Orlando Weeks’ debut solo album ‘A Quickening’ is a very human listen.
Less summery and shiny than Haim’s previous albums, ‘Women In Music Pt. III’ is a tough, forthright statement of importance.
The first of a planned series of four albums, ‘KiCk i’ is the most ‘pop’ of all of Arca’s albums to date, yet retains the avant-garde cutting edge that has always made her music so compelling.
Fusing funky rhythms with the grit of garage-rock and punk, transatlantic outfit Pottery deliver one of the debuts of 2020 with ‘Welcome To Bobby’s Motel’.
On their third album ‘Mordechai’, Khruangbin take their globe-trotting aesthetic in a more conventional pop direction, but it’s no less rewarding.
Even more confident than her accomplished debut, Phoebe Bridgers’ ‘Punisher’ elevates potentially depressing material into something life-affirming.
‘To Love Is To Live’, the debut solo album from Savages’ lead singer Jehnny Beth, is an uncompromising tackling of the dark sides of life as well as a celebration of its highs.
Leeds-based sextet Team Picture release a carefully constructed and very impressive debut album in ‘The Menace Of Mechanical Music’.
