As a first full-length release, Remi Wolf has pulled off pop music that most artists couldn’t dream of. It’s hard to imagine anyone who wouldn’t be captivated by her pure charisma and pop splendour.
DEMIDEVIL is definitely a grower, on first few listens it’s good at best...and you’re lying if you don’t feel completely enticed by concluding track ‘Clitoris the Musical.’
Planet Her is a passable collection of pop songs, but as a part of the Doja Cat universe, it’s unrepresentative of her bold, charismatic personality.
Friends That Break Your Heart is some of Blake's best writing in years; there's something interesting to be said for every track, and takes the musician outside of his comfort zone whilst attempting to evolve into a new Blakeian era.
They have distanced themselves from the love-drunk punk of Human Performance, the collective indie urgency of Wide Awake!, and stumbled across an album that lives in the groove.
A Way Forward is Nation of Language at their best and boldest. By blending the organic with the synthetic, they’ve crafted a record so uniquely their own, they might as well have their own movement.
The project has an electrifying cohesion that makes the eight tracks addicting to dissect. BOY ANONYMOUS radiates playful creativity and oozes a honeyed venom that keeps you hooked.
Isles is an album that, with its paradoxical layers of complexity, not only calls for multiple and detailed listens, but rewards attentiveness.
CARNAGE is a step away from the narrative-heavy albums we’ve heard before like Murder Ballads; generally closer to the imagery and metaphor-rich lyrics of Ghosteen, but it also has its own particular charm.
Whilst Parks frequently invokes soulful legends and contemporaries with her sound, she is undoubtedly setting a path of her own with her incredible lyricism; a beautiful combination of performance, poetry, and emotion that stops you in your tracks.
A thrilling sophomore album, Any Shape You Take imbues existentialism in an intricately crafted mixture of melancholy joy.
2018’s Combat Sports was a career high, a peppy indie-pop album with cinematic intentions, with Justin Young’s songwriting at a new peak: a peak which he somehow manages to top on Back In Love City, a sprawling gem of an album that shows The Vaccines eradicating any restraints on their wild creativity.
With his sixth studio album Call Me If You Get Lost, Tyler turns everything up-side-down again, resulting in one of the most dynamic and interesting entries in his discography so far.
With a newfound simplicity, the dynamic shifts hang together around earnest vocals and mature songwriting to produce not only a sonic achievement but an emotionally intimate one.
Taken together alongside its extraordinary marketing materials and the barrier-smashing music videos they come with, MONTERO represents a true revolution in pop, rap and music as a whole: from Lil Nas X onwards, no topic should be off limits.
One of the best slices of indie-pop you’re likely to hear this year, The world within our bedrooms is the perfect summer time accompaniment.
Post-punk has always been a genre that only vaguely fitted IDLES, used only because it was a convenient way to compare them to their contemporaries. In some ways, CRAWLER is the closest that the Bristol five-piece have come to the now-overused label, but the album is, at its core, unpredictable.
Mogwai have managed to write the most quintessentially “Mogwai” sounding album, while remaining fresh, exciting and original. They’re masters of their craft and As The Love Continues is one of their more enjoyable records in years.
It might only be nine tracks long—practically sacrilege in the streaming age—but An Evening is a supremely enjoyable album that will leave listeners begging for more.
On her second full-length record Happier Than Ever, Billie Eilish (alongside her producer/brother FINNEAS) has instigated a new direction that will inevitably ripple throughout our culture—and yeah, maybe even reset it.
Bullseye is undoubtedly one of the greatest debuts of the year. With complex lyricism and emotive instrumentation, it’s the perfect accompaniament for late nights, early mornings, and those days where nothing quite seems certain.
Yellow is a triumph of Thackray’s singular vision. A positive, consistent, joyously listenable and danceable album, which somehow pulls off being both instantly memorable and continually surprising.
Seventeen Going Under is a spectacularly faultless second record that will inspire generations to come: Springsteen might be Sam’s hero but he's becoming a boss in his own right.
Everything about this album, from first burp to last pluck is an absolute treat.
It begs you to dive into its murky waters headfirst and peer at what lays beneath this puddle of gloom, and see the album for what it really is: a triumphant and true return to self.
On Sometimes I Might Be Introvert Simz continues to operate at the highest echelons of British rap.
Balfe’s wounded outpourings are all too seldom heard from male voices across society, and for that reason, this is an album that will rightly be remembered for years to come.
On reflection, To hell with it changes everything. It’s a collection of lost songs, for people to confide in. It offers an escape, a refuge, a rave, and a place to lie down. Beautifully bleak, bordering on existential, it’s the record we’ve all been crying out for, and it’s arrived in the knick of time.
It's pretty much the perfect modern punk record: the band have unabashed talent, as well as thunderous fire in their bellies. Superb.
This album is - dare we say it - fucking faultless. Sleaford Mods are out to save 2021 with their boisterous lyricism and hard-hitting production.