With her pop-heavy second album, Amber Bain is compelling as ever but falls a little short of coming full circle.
Daughter find a little more hope in the melancholy on their dazzling new album Stereo Mind Game.
On her second LP, i don’t know who needs to hear this…, Tomberlin’s self-soothing becomes a tonic for modern anguish.
Widowspeak’s sixth studio album finds them slick, soulful and effortlessly cool as ever.
With Dragon… we glimpse Big Thief’s magic in action, like pressing an ear to the rehearsal room door. It’s a lived experience, open-hearted and spontaneous, that pushes the boundaries of what the four, between them, can create.
Laurel Hell, Mitski’s bold return to music, brings enchanting beats, gut-wrenching honesty, and even more wisdom.
Where Lush was agonised, anxious, Valentine finds a new serenity; Jordan takes a step back from her emotions and makes deeper observations of her experiences. Still, there are flashes of the stubborn candour that made Lush so memorable.
Throughout BREACH, harsh realities and existential questions sit side-by-side, creating a stunning record that is as relatable as it is profound.
A startlingly impressive debut, Dream On exudes an intimacy and emotion that seems limitless; that has the power to reverberate across continents, somewhere deep in the human psyche.
Emerging from the wake of Big Thief’s third record, U.F.O.F, released only a few months ago, Two Hands is perhaps the band’s most cohesive and down-to-earth work yet.
Reward is just that: the precious, well-earned outcome of patience and introspection, and the bravery to be wholly yourself.
Good at Falling has a feeling of the relief that comes after crying. It takes a moment to sit in sorrow, to feel every inch of it, only to find it washed away by hope and gratitude.