Sorry’s Anywhere But Here pokes at rock and pop conventions without being a full-on piss-take on rock music. It’s more rewarding the more it’s listened to.
The not-to-be-missed fourth album by EDM artist James Hinton aka the Range is simultaneously his most retro sounding and forward-looking. Mercury is engrossing.
Franz Ferdinand’s potential is repeatedly hinted at rather than fully realized on Hits to the Head. But it’s better to show potential than to have none at all.
Electronic music’s Jon Hopkins takes a deep dive and goes straight for the heart on Music for Psychedelic Therapy. The question is, will you go?
Shirley Collins' Heart's Ease makes it apparent these songs do not belong to her as they are ownerless. Collins is the conveyor of their power while ensuring the music maintains cultural importance.
Desire is a successful expansion of Bob Moses' previous standard pop album format into the more grandiose club mix format, one that hints at further creative developments in the group's future.
Every track on Sorry’s indie rock debut, 925, features something interesting, but the songs don’t quite gel yet for the young London band with a lot of promise.
Arriving less than a year after Drift Code, Rustin Man consolidates a rich vein of form with the sepia-toned Clockdust, an autumnal record rendered generous and exquisite by each song's emotional weight.