Sam Smith takes a seemingly less commercial approach to his sophomore album, but does it pay off?

‘Morning After’ finds dvsn surmising the internet-era romance of 2017, and all the insecurity, deceit and deep emotional growth that comes with it

This was definitely worth the wait

There’s a brief but beautiful moment in the opening track, ‘Four Years and One Day’, where after building for most of the track, the synths break off from the kraut-rock inspired guitar crescendo, only for the guitars to smash back in with a resemblance to Joy Division’s ‘Shadowplay’. Gone are the stripped back and precise […]

A devastating tribute to his dead wife, Phil Elverum’s reflection on love and grief still feels raw. It is his most powerful and complete work yet, and it is a tearjerker

Eddy Thrower, drummer from Lower Than Atlantis, discusses the band’s new direction in their latest album release

Christian Hurry talks through Thundercat’s latest album Drunk, his first since working with Kendrick Lamar on To Pimp A Butterfly

Having replaced all but one of their members, Cherry Glazerr are back with a charismatic yet at times uninspiring new album, writes David Newman

The German maverick of electronic music returns with a typically experimental album on Hamburg-Berlin based Dial Records, writes Robert Firth

White Lies have delivered an 80’s pop inspired record that is commendable, yet unremarkable, says Jacob Hopkins

AlunaGeorge have returned with a brilliantly produced second album, writes Tara Bharadia

Beware of Darkness have returned with an album that has seen them re-emerge from the shadows, writes Jeni Lambert

On his third album as Wild Nothing, Jack Tatum is “terrified of being any one thing”. Therein lies the problem