Gathering up a healthy number of B-sides and rarities among the prime cuts, Sleaford Mods’ first compilation ‘All That Glue’ is more worthwhile than your average greatest hits.
A hulking beast of bleak experimentalism, Girl Band’s second effort ‘The Talkies’ is bewildering yet emotionally cathartic.
The intense hype around experimental noise-rockers Black Midi is justified by the breakneck mania of their debut album ‘Schlagenheim’.
A loose concept album of hope and strength in the face of disillusionment, Bridie Monds-Watson’s second SOAK album ‘Grim Town’ is a leap forwards.
A compelling voice in an otherwise bland wilderness, Sleaford Mods deliver another no-nonsense EP.
Bursting with lushly orchestrated MOR pop, ‘Babelsberg’ is yet another sumptuous solo album from former Furry Gruff Rhys.
Parquet Courts’ fifth album ‘Wide Awake!’ is the boldest record they’ve made so far, both musically bold and unambiguously political.
Goat Girl’s self-titled debut album displays huge promise and compelling modern punk bile, but its structure of song sketches lets the band down.
The Decemberists’ eighth album ‘I’ll Be Your Girl’, branching out into electronic textures to complement their established indie-rock sensitivity, is only partly successful.
The Smiths’ fourth and final album ‘Strangeways, Here We Come’ is the sound of Morrissey and Marr trying very hard not to repeat themselves, and succeeding handsomely.
