There are few missteps on Hozier – at its best it stuns and at its worst it’s a pleasant ride. But Hozier’s are not the skills of a one-trick-pony and that may well carry him beyond this very self-assured and solid debut.
Del Rey sounds alone, which is apt because these are some lonely damn songs. She’s often sung about being stuck with absent, uncaring men and loving them anyway, and Ultraviolence doesn’t change that.
Though it’s ridiculous to rank an album within an artist’s body of work on the day of its release ... I’m going to go ahead and do exactly that and place Morning Phase on Beck’s top shelf, alongside Odelay! and Sea Change.
Sure, this is the wrong album to expect any traditional form of focus from ... but Pink’s continual sleight-of-hand can make him seem less like a unique musical act himself and more like a gifted mimic cycling through colourful dress-ups.
Run the Jewels 2 takes the collaboration to the next level, establishing the duo as a unit – and one that’s not to be messed with.
Every note sung on LP1 is delivered with meaning, the clinical production never contaminating the sincerity on offer.
Like Slave Ambient, the indie-rockers’ third album repeatedly slips in and out of focus, while maintaining the yearning for forward momentum present in all of his work.
St Vincent may be intimidating in its intelligence, but it remains overwhelmingly accessible.