The garbled way in which The Coral piece these disparate elements together creates an odd, timeless and cosmic music, buzzing with energy, and very much their own.
It manages to top those two finely crafted albums. It's more streamlined in its playing, more confident in its writing, more determined in its mission.
Even as Atrocity Exhibition plumbs depths, Brown remains a savvy operator.
Superb third album ... The album is beautifully structured like this, with narrative threads and recurring thoughts picked up and passed from song to song. It's also self-referential but, crucially, never arch.
It has a slightly transitory feel; a half-step back from those monolithic builds and whiplash grooves, gesturing towards something more contemplative and… well, “softer” feels the wrong word, but certainly weathered by the journey.
It may be OR’s best album yet, even if it doesn’t much sound like the albums immediately preceding it.
Hval’s approach has always been equal parts instinctive, intellectual and whimsical, but Blood Bitch confirms her singular methodology is now at its most surgically precise and bold. In realising her uncontainable, bewildering ambitions, one might even suggest it represents Hval’s coming of age.
It’s comforting and surprising, full of trad sounds electrified by the off-kilter vision of an artist whose recognition as one of Americana’s finest voices is long overdue.
The Ghosts Of Highway 20 is vast, thoughtful and profound.
It's the interplay between the core duo, and between the American and African influences, that gives Wood/Metal its hypnotic pull.
Since rising to attention with 2009's Me Oh My, Cate Le Bon has turned out four albums of arch, otherworldly guitar pop, of which Crab Day is surely the best yet.