After a series of bold conceptual works, Weaver has decided to cut loose on Flock, which also ditches some of her space-rock otherness for a sound that sidles closer to the dancefloor.
The Moon And Stars feels a more fully realised project, more wide-ranging and self-assured than its predecessors.
Sometimes I Might Be Introvert is an even more ambitious conceptual album that finds her sharing her insecurities, praising her heroes and going on a fairytale voyage over 19 tracks.
If Grant's recent output veered toward the unnecessarily quirky, this new record restores focus.
А smart foursome me with a working try knowledge of Life Without Buildings and late-period Magazine, Dry Cleaning enlisted John Parish to add extra damp-kitchen murk to their pleasingly grubby debut LP.
The Sleaford Mods we hear on Spare Ribs sound more comfortable in their own skin, relaxed enough to explore their eccentricities.
The group's 10th album ... bristles with the unruly energies that enlivened their younger incarnation.
Saint Etienne have sometimes been accused of cleverness at the expense of emotion but I'vе Been Trying To Tell You is immediate and soulful.
Effectively, Sons Of Kemet reimagines a world in which jazz might have sprung from the Caribbean rather than New Orleans.
Chemtrails picks up the nostalgic thread of 2019's Norman Fucking Rockwell!, though here she's mostly Midwest and more melodic.
Freed from his complex finger-picking, Dawson is able to soar gloriously over Circle’s layers of sound, while the group are stronger with his mighty voice and melodies elevating their tumult.
The War On Drugs have fine-tuned their hybrid of American drivetime classicism апа kosmische on I Don’t Live Here Anymore and buffed it to a warm sheen, but they’ve also toned its muscle and gone lighter on the layering, while significantly upping their synth-pop game.
Woodsist associate exercises admirable, compassionate restraint.
It is easy to make music that is difficult and it is easy to make music that is beautiful. But it is quite the trick to be both at the same time, and on Hey What, Low mark themselves out as masters of the art.
This might not be a Bad Seeds album (although drummer Thomas Wydler is on there), but nor is it one of Cave and Ellis’s minimal excursions into the film soundtrack wilderness.
Promises is an impressive collision oftalents, and sublimely lovely in places, but also frustratingly slight.
Emotions are never straightforward, often shrouded in a mist, or on pause in the unheard half ofa dialogue, waiting to emerge. But there is still joy to be found in the sound of these songs.