Embracing funk and disco influences into their template of hard rock and chunky riffing, Royal Blood’s third album ‘Typhoons’ is admirable but slightly uneven.
A four-hour monster of a remix album, there’s so much material on Foals’ ‘Collected Reworks’ that it’s worth your time to at least explore.
A return to form, Biffy Clyro’s eclectic eighth album ‘A Celebration Of Endings’ suggests a number of possible futures.
In writing, recording and producing a masterpiece in conjunction with collaborators remotely during a lockdown, Charli XCX shows herself to be one of pop’s most industrious and imaginative stars.
On ‘Why Me? Why Not.’, Liam Gallagher amplifies and doubles down on the successful parts of his 2017 solo debut.
The departure of bassist Walter Gervers is just one way in which ‘Everything Not Saved Will Be Lost’ is a new era for Foals.
One of the most enigmatic and unknowable albums in the pantheon of rock and pop, Van Morrison’s incredible ‘Astral Weeks’ turns 50 years old.
When you think that ‘Simulation Theory’ is the work of the same band that once did ‘Origin Of Symmetry’, you realise how depressingly cynical Muse have become.
Still bent on creativity and pushing their limits years after their Britpop contemporaries became lazy and fat, Suede have delivered one of their finest albums with ‘The Blue Hour’.
The Jesus & Mary Chain’s first album in 19 years picks up exactly where they left off.
