With their fifth album they're taking strength from sadness, hope from despair, and wisdom from experience. In troubled times, The Universal Want is exactly what we need.
Its more minimalist style is a welcome return to the sound of some of the finest moments from Life Is People.
Not to say Lianna La Havas is a sonic shock: it's evolution not revolution, putting its author's sound deeper into her own context.
Her fourth album proves that she can apply those techniques to more structured, dynamic songs in a way that's instantly enthralling.
New York siblings get sleazy on third LP.
True original hits new peak on fiercely eclectic fifth.
Beneath the smoky fug of a curiously bass-heavy, sometimes semi-psychedelic production, we find all sorts of intriguing experiments.
They're well worth the wait ... with leader Sydney Minsky-Sargeant’s stalking through this potent set of bruising electro songs like a cool composite of Stephen Mallinder and Mark E Smith.
Have We Met marks a return to Kaputt's pusher aesthetic and eager melodicism, with "Crimson Tide", "The Raven" and "The Man in Black's Blues" all serving as irresistible examples of Bejar's blend of soft rock, dream-pop and more idiosyncratic elements.
Sundowner benefits from a DIY ethic that sees its maker playing virtually all instruments.
The achievement of Sideways To New Italy ... is to maintain their customary tempo while deepening the experience, giving their melodic indie rock a subtle sophistication and confidence.