Girls in Peacetime… is lovingly crafted, laced with embellishment and detail, and it’s full of unexpected twists
New Bermuda emotionally overloads the listener like a mixed-state manic episode; it's a darker autobiographical account than its predecessor, but equally gorgeous sonically.
If 2013's R Plus Seven was a landscape of delicate synthwork and angelic choral sounds glossing over a murky atmosphere, then Garden of Delete flips the script in this seemingly aggressive record; muscular in tone, schizophrenic in delivery, all the while possessing a maniacal grin on its face.
As befitting a music obsessed neuroscience graduate, the sounds here are as eclectic as much as they are cerebral, with Kenny Wheeler, Toru Takemitsu and Moreton Subotnick all cited as influences.
This third outing takes off with Let It Happen, a fanfare of driving drums and kaleidoscopic synths that is reassuringly Tame Impala of old, but as it gains altitude Currents soars to a new level of sophistication.
Ones and Sixes weaves together the strongest elements of their 22-year career – from slowcore sparseness to wiry post-punk to glorious sadrock – and while the results feel as mournfully doom-laden as ever, they still tingle the spine like no-one else.
Asunder, Sweet and Other Distress is slim but huge, and tests the GYBE aesthetic with courageous enterprise.
Strung out amidst languid peels of brass, graceful 70’s-style piano, and Condon’s silky, lost and found tenor, the beauty is soft, and fragile, but also fleet of foot, and highly engaging with it.
That this familiar template still manages to sound so completely compelling is testament to both the malleable nature of his craft and the skill with which it's delivered.
Young Fathers' White Men Are Black Men Too is a gargantuan, fearless record. It’s a celebration, a rebuttal, a call to action; a dance party that won’t for a single minute let you rest.
It's her frequent attempts to empathise with these opposing views – doing so with a stunning vocal performance dilating from breathy spoken word to sky-gazing operatics – that makes for an incredibly arresting commentary on the state of the West.
Lyrically it's uncompromising, dark and surprisingly direct – mentions of blood, death and ghosts are plastered all over its 11 tracks – but there's a real beauty to Carrie & Lowell that shines through the darkness.