Girlpool continue to shine and evolve when they experiment with new sounds, yet are weighed down by a handful of unadventurous indie-rock fillers.
Against The Current’s second album successfully makes an electronic sound appear surprisingly beautiful, writes Eleanor Roberts
Jasmine Bennett reviews Yung Lean’s latest EP, Poison Ivy, which offers up eight-tracks of melancholic vocals and rhythmic beats.
The Scouse favourites pay a largely pointless tribute to their younger, more vibrant selves writes contributor Caolan Coleman
Twenty One Pilots returns in style after a year-long stint out of the public eye with the release of their fifth album Trench
Contributor Ella Broadbent challenges Arctic Monkeys fans’ perceptions of their highly contested new album, Tranquility Base Hotel and Casino
Black Honey’s eponymous debut album is a bold, sultry and effortlessly fun celebration of pop, writes Rona McCann
A failed attempt to stay relevant
Sam Smith takes a seemingly less commercial approach to his sophomore album, but does it pay off?
Josh Sandy discusses the successful sophomore release from singer-songwriter Nina Nesbitt, five years after her original debut hit the charts
New band on the scene I Don’t Know How But They Found Me has released their first EP, which does not disappoint, writes Eleanor Roberts
Jasmine Bennett reviews Cat Power’s beautiful return to the music industry with her tenth album, Wanderer.
The band are back after three quiet years with a contrastly loud release. It may not blow fans’ minds but it will keep them happy for now.
Urussa Malik pictures Christine & The Queens’ new album as needed push for change in social norms – along with being a stunning piece in its own right.
Contributor Jasmine Bennett takes a listen to Bambi, the new autumnal album by soft-sounding indie pop band, Hippo Campus
One of the most significant and creative hip-hop releases of the year
Third albums can make or break any musical career, and after a disappointing second album, Django Django don’t disappoint with Marble Skies, writes Ethan Davies
‘Morning After’ finds dvsn surmising the internet-era romance of 2017, and all the insecurity, deceit and deep emotional growth that comes with it
