ALICE IN CHAINS ****
Rainier Fog (BMG)
Alice in Chains’ third album with singer Will Duvall, the same number they released with the late Layne Stayley, hints at an optimism for the band’s future rarely seen in even their early albums. The title track and So Far Under resemble the midtempo riffs that went on to inspire Metallica’s voyage into middle age, while Maybe and All I Am have vocal harmonies like Lennon and McCartney on a hallucinogenic comedown. For 90s alternative bands, one of the bigger triumphs of the year. AE
ANNA CALVI *****
Hunter (Domino)
After a five-year hiatus, Anna Calvi returns with a stone-cold stunner. Hunter is drenched in sexual drama and intensity, with lyrics delving deep into gender identity. The music is rich and texturally dense, with Calvi’s powerful vocals cutting right through everything. The first four tracks in particular are incredible, with Don’t Beat The Girl Out Of My Boy a glorious statement of intent. The latter half of Hunter doesn’t grab as immediately, but its 3am nocturnal stirrings grow with time. FT
ÅRABROT ***
Who Do You Love? (Pelagic)
Following 2016’s cantankerously ambitious The Gospel, Norwegians Årabrot cast their noise rock net further afield. Fans have come to expect skewered forms of metal from singer Kjetil Nernes and his rotating band, but on album highlight Sinnerman and the carnivalesque Uniform Of A Killer the band edges closer to Nick Cave’s early Birthday Party grind than anything resembling traditional metal. One senses Årabrot are on the cusp of greatness as their command of the music catches up to their vision. AJ
ARVE HENRIKSEN ****
The Height Of Reeds (Rune Grammofon)
Spectral Norwegian jazz trumpeter Arve Henriksen joins with guitarist Eivind Aarset and electronics fella Jan Bang, both frequent bandmates of his, plus field recording artist Jez Riley French for a suite designed to be listened to with headphones. Specifically, while walking over the Humber Bridge – The Height Of Reeds was previously a soundtrack for a City Of Culture installation in Hull. It works splendidly in isolation, though: the trio’s own moving, minimal style of pillowy jazz ambience folded into French’s recordings of the bridge itself. NG
BACAO RHYTHM & STEEL BAND ****
The Serpent’s Mouth (Big Crown)
Mixing reggae-style steel drums with funk and a penchant for covering whatever he damn well feels like, bandleader Björn Wagner has delivered another album that once again takes steel drum music into new realms. Having previously covered the likes of 50 Cent and Cat Stevens, it’s now the turn of Beyoncé and Jan Hammer, amongst others, to get the Bacao treatment – while the title track is surely awaiting inclusion in a Tarantino movie. Magic. CA
BLOOD ORANGE ***
Negro Swan (Domino)
Dev Hynes’ fourth Blood Orange album ticks all the right boxes, yet ultimately feels somewhat hollow. Coming across as an attempt at that nebulous grey cloud of profundity regularly created by Frank Ocean, the melancholic washes of synths, snippets of mumbled dialogue and melodies that blur into one another only register for the duration of each song. With snatches of melody thin on the ground and songs that feel like sketches, J Dilla airhorns and Sade vibes can only mask so much. AJ
CHRISTINE AND THE QUEENS ****
Chris (Because)
In an era when gender and sexuality is scrutinised perhaps more than ever, Chris is one of 2018’s most relevant records. Comme Si kicks things off with shiny synths before Girlfriend takes over and leads the way for slick funk rhythms which sparkle throughout. At times channelling Janelle Monáe, St. Vincent, and latter-day Prince, Charleur Humaine’s follow-up could leave Christine And The Queens as one of the year’s most revered artists, and also among the best for currently leading the way for skilfully crushing gender stereotypes. CE
DARWIN DEEZ ****
10 Songs That Happened When You Left Me With My Stupid Heart (Lucky Number)
The New Yorker’s fourth release brings funk tonality to the familiar fusion of jutting acoustic licks and staccato synth melodies which brought breakout recognition at the tail end of the 00s. With signs of transgression in the peppy powerpop of Queen Of Spades and the tight electronic fizz of Daddy Always, it is the fluid falsetto vocals of the outfit’s namesake Darwin Smith that remains the core strength in their twee indie formula, of which this represents a slick example. CHP
GAZELLE TWIN ***
Pastoral (Anti-Ghost Moon Ray)
If ‘pastoral’, in literary terms, paints an idyllic picture of rural life, this LP is ironically titled. As The Wicker Man and Midsomer Murders have taught us, beneath the British countryside’s veneer of respectability, tranquillity and beauty lie violence, lust and menace. Electro-terrorist Elizabeth Bernholz offers a deeply unsettling depiction of our green and pleasant land as a nightmarish post-Brexit dystopia of boorish nationalism and toxic nostalgia – though perhaps the execution isn’t quite as good as the idea. BW
HMS MORRIS ****
Inspirational Talks (Bubblewrap)
A bold, exciting album that pulls us into unexpected and pleasant places with an interesting mixture of retro instrumental sounds, beautiful vocal harmonies and experimental soundscapes. It also boasts some of the best Welsh language music that the scene has to offer, leading to songs like album highlight Cyrff. In short, HMS Morris are one of the most interesting bilingual bands in Wales right now. LB
Joy As An Act Of Resistance (Partisan)
Popularised by acerbic wit and punk attitude, fans can expect no change. Experimentation aside, one trick can fare well and Joy… impresses on both fronts. From Colossus to Samaritans, some songs are instrumentally alluring, others antagonistic and satirical, Danny Nedelko and Great mocking ideologues: ‘’Blighty wants his country back, Fifty-inch screen in his cul-de-sac, crying at the price of a bacon bap’’. While Idles’ appeal may be narrow outside of Britain, their charm and energy is certainly a hit with their dedicated audience. AS
JOYCE MANOR ***
Million Dollars To Kill Me (Epitaph)
Straight out of Cali comes Joyce Manor, with the follow up to their highly acclaimed 2016 album Cody. With Converge guitarist Kurt Ballou on production, the boys have delivered another gorgeous slice of pop-rock. Lead single Think I’m Still In Love With You is a prime example of how the band has taken their Jawbreaker-meets-Weezer sound to the next level, while still retaining the elements that made Epitaph sit up and take notice in the first place. CA
THE KOOKS ****
Let’s Go Sunshine (Kobalt)
All hail the Kings Of Pop’s latest offering: sometimes upbeat, sometimes sad and reflective, and packed with a history of British influences. Super guitar and also piano/synth work crops up on choice picks including Picture Frame and the 60sish Swing Low, mixed up with the disco-ish All The Time, trumpet-heavy Weight Of The World and slow, dreamy single No Pressure. Oft-Ray Davies-sounding lead vocalist Luke Pritchard crafts deceptively simple lyrics about growing up and ending/beginning couplings. RLR
Black Rainbow Sound (Memphis Industries)
Largely a sea of mediocrity saved by one or two excellent tracks, this is quite representative of much of the increasingly bland pop-flavoured psych-rock that’s around a lot these days. The opening title track, featuring Brix Smith of The Fall, is superb, spiralling up into the imagination with hooks and groove, but beyond that Black Rainbow Sound dissipates into blandness and boredom, thanks to a lack of songwriting chops or sonic imagination, with everything gradually blurring into one fuzzy monotone. FT
MOGWAI ****
Kin OST (Rock Action)
Although Mogwai have provided music for documentaries in the not so distant past, this is their first feature film score, for tense sci-fi crime thriller Kin. Stark, haunting, moving and little like anything they’ve done before, what Mogwai have done for Kin ought to stand the test of time in the same way as Vangelis’ soundtrack for Bladerunner, and Trent Reznor and Atticus Ross’ for The Social Network. DN
NATHAN HALL AND THE SINISTER LOCALS *****
Tunguska Tydfil (The Hip Replacement)
Tunguska Tydfil, the second album by Soft Hearted Scientists’ Nathan Hall, is more subdued than predecessor Effigies but succeeds because of it. The band’s trademark quirkiness harbours an eclectic mix of topics, folk tunes, ghosts, witches and echoes of Syd Barrett. Songs may be unconventional but they are not without substance. Look deeper than such titles as The Phoenix Of Albany Road and you’ll find elegiac lyrics with subtle meanings. There’s a lot packed in here so repeat playing is mandatory. LN
ORBITAL ***
Monsters Exist (ACP)
A return of the Hartnoll brothers known for their glowing glasses and distinctively unsullied techno sees Orbital adhere to their reputation as live performers with Monsters Exist. Live in the sense of spontaneity, and occasionally there is too much of it. There are moments of genius that perpetuate the pedestal that Orbital have earned, like the slow build of Buried Deep Within, but the inclusion of Brian Cox on There Will Come A Time, like much of the album, smacks of tryhard. CC
PALE WAVES ****
My Mind Makes Noises (Dirty Hit)
Gothic pop has a new tasty flavour. Pale Waves launch themselves with a debut album that perfectly combines pure 80s new wave electronic beats into modern-day alternative pop choruses that belong at the top of the charts. With vocal lines that get you hooked on first listen to dirty underlaid guitar riffs, this Manchester quintet have created a formula that can only be described as Depeche Mode meets Taylor Swift, in the best possible way. A truly exciting prospect. MR
PASSENGER ****
Runaway (Black Crow)
Even for those of us who’d run a mile rather than hear Dylan’s nasal whine, listening to Passenger – aka Mike Rosenberg – is a welcome experience. He explores his American side (other half’s British) with catchy folk-country-pop-rock on a 10th album chock full of potential singles like Runaway, with its Mexican-style horns. Songwriting and the addition of banjo, lap steel guitar, mandolin and lovely orchestral strings/piano fill out what could’ve been made merely with guitar and sounded too samey. RLR
PHRONESIS ****
We Are All (Edition)
The eighth studio album from this highly polished European jazz trio is, as expected, a clean, compact cut of complicated music. With flavours of EST and The Bad Plus, the group balance virtuosic frenzies with enduring melodies – there’s often points when it feels too much like “musician’s music”, but musical motifs thankfully keep it grounded. It’s quite a poignant record and the motivation they’ve drawn (togetherness and the importance of peace and harmony) is clear for all to hear. CPI
Loser Leaves Town (Country Mile)
This is great! Veering from one thing to another, always with the effortlessly brilliant voice that Spencer owns, one is reminded of Randy Newman, the Wainwright clan and Lou Reed – yet the singer still manages to convey originality and class. From album opener Stunt Double, things are rolling and Spencer proceeds to lay his soul bare throughout alongside wonderful showmanship (and showtunes!) throughout. Respect must be given to producer Charlie Francis and Country Mile, too. JE
SINGLES
CPT. SMITH ****
Get A Car EP (I Ka Ching)
Three songs in English, two in Welsh and it’s the latter that stand out because the language lends itself to angst-ridden lyrics. Tracks have a strong bassline, drumbeat and pop-punk melodies; the catchy Beans Stefens and Get A Car have some solid riffs. Quite infectious. LN
Pink Magic EP (Killing Moon/Alya)
The third EP by the Leeds-based quintet does its best to defy genre, with tracks ranging from the heavy drum beat of the title track to the more poppy Illusion via a fizzy-sounding C2O. With retro undertones of ABC and the diversity of Hard-Fi, this is decent indiepop. LN
FLOWDAN ***
Shell A Verse (Tru Thoughts)
With Roll Deep on indefinite hiatus, founding member Flowdan is back with a new track designed to get the festival crowds moving. Mixing old school dancehall and reggae, military style beats and his inimitable delivery, Flow has once again shown himself as a force to be reckoned with. CA
SARAH BROWN ****
Living In Sin (self-released)
Absolutely dripping with attitude, this Cardiff singer’s latest single has a chorus you’ll be singing for the rest of summer. Sarah bares her soul in her lyrics and her powerhouse vocals are more than a match for the searing guitars; Living In Sin should see Sarah hit the next echelon in her career. CA
How I Faked The Moon Landing (Ghost Disco/Libertino)
THE VEGA BODEGAS ****
The Complete History Of Witchcraft (Ghost Disco/Libertino)
A double helping of excellent music from south Wales courtesy of Libertino Records, Silent Forum’s post-punk timelessness and from-anywhere sound puts them in the bracket of classic immediately. The Vega Bodegas, meanwhile, are angry and urgent with humorous asides, frontman Jimmy Watkins not letting up for a second. If anybody tries to tell you local music is not effused with energy and intelligence, play them these two singles and watch their reaction. JE