Idaho – ‘Lapse’ album review: a lazy rehashing of slowcore monotony Their first record in 13 years. Ben Forrest May 31, 2024
Richard Hawley – ‘In This City They Call You Love’ album review: a romantic album built on longing A sound as strong as steel. Dale Maplethorpe May 30, 2024
Maya Hawke – ‘Chaos Angel’ album review: best at its biggest Soft spoken poetry in need of a boost. Lucy Harbron May 30, 2024
Anastasia Coope – ‘Darning Woman’ album review: endlessly inventive exploration of gender ideology A stunning debut album. Ben Forrest May 30, 2024
King Hannah – ‘Big Swimmer’ album review: A mischievous, modern take on ’90s alternative Harking back to the 1990s. Elle Palmer May 29, 2024
Arooj Aftab – ‘Night Reign’ album review: a mystic mingling of jazz A nocturnal jaunt. Tom Taylor May 29, 2024
Bat For Lashes – ‘The Dream of Delphi’ album review: an avant-pop rebirth Ambient and avant-pop soundscapes… Jordan Potter May 29, 2024
Mui Zyu – ‘Nothing or Something to Die For’ album review: the soundtrack for an underwater movie about robots A beautiful listen. Dale Maplethorpe May 23, 2024
Girl and Girl – ‘Call A Doctor’ album review: predictable emo-influenced indie rock Rather predictable indie. Aimee Ferrier May 23, 2024
Bess Atwell – ‘Light Sleeper’ album review: a beautiful but safe effort Almost too perfect. Lucy Harbron May 22, 2024
Andrew Bird – ‘Sunday Morning Put-On’ album review: a compelling love letter to the jazz legends of the past A musical chameleon. Ben Forrest May 22, 2024
La Luz – ‘News of the Universe’ album review: A cosmic confrontation of death A tender new direction. Elle Palmer May 22, 2024