On All of This Is Chance, Irish folk singer Lisa O’Neill turns the attention to herself, with what might be her most personal collection of songs yet.
On Music in the Afterlife, Martin Kennedy and Gareth Koch put themselves in the running for an impossible task to make a soundtrack for eternal bliss.
If you like mid-period Beatles and Byrds, Wilco at their lightest, the Stones at their brightest, and Big Star, you’ll like Daily Worker’s Autofiction.
Like the snow-coated cover art of Drifting, the paradoxical sound of Mette Henriette’s trio presents a bit of serenity by way of extreme conditions.
John Cale enlists Weyes Blood, Sylvan Esso, and Animal Collective to create a dark, unsettling new LP, MERCY, combining darkness with beauty on a knife edge.
For those who appreciate a certain branch of dance-pop, Ava Max’s Diamonds & Dancefloors is a euphoric escape from the harsh realities of adult life.
One of the most exciting aspects of Larry Campbell and Teresa Williams’ Live at Levon’s! is the material’s diversity and how well they handle the changes.
Young Fathers declare their awareness of what’s going on but take it a step further. Heavy Heavy urges the audience to do the heavy lifting and “have fun”.
On Junior Boys’ Waiting Game, the sounds are slowed down significantly, and we’re pulled into a far tighter space than in the past, reflecting our melancholy.
With ample self-awareness and a keen sense of the surreal, Samia delivers a sonically dynamic voyage through the monstrous and merciful extremes of intimacy.
Blood in the Disco isn’t just CORLYX’s best album yet, it’s one of the best goth rock albums to emerge yet this decade.