FINAL LIGHT: post-metal duo cruise into dark synthwave for futuristic debut
File under ‘F’ for future metal, and rock out with your neon battle jacket and shades out while listening to Final Light's post-metal debut.
File under ‘F’ for future metal, and rock out with your neon battle jacket and shades out while listening to Final Light's post-metal debut.
Liverpool’s Stealing Sheep have retained their psychedelic sound but taken it to another level on their latest album, WOW Machine.
Towards the end of Puttin’ On The Ritz, too, Ella can be heard saying “I screwed that one up, ha ha!” referring to a melody she had changed: her unique charm, honesty and energy are palpable throughout At The Hollywood Bowl.
The frontman of Real Estate has downsized to a bungalow with another solo album as Martin Courtney, with tunes bathing in the ‘here comes the sun’ golden glow.
Arkhon, the seventh Zola Jesus album, from track to track, has a varied and expansive sound that lies somewhere between dark electronica and minimal cinematic soundscapes.
Norwegian band Wardruna’s latest offering reshapes their early 2021 studio album Kvitravn, and the results fall between two stools, neither relaxing nor rousing.
To describe Elizabeth Fraser’s voice as ‘ethereal’ doesn’t do it justice when many others labelled as such pale into earthly comparison.
In a time when ‘genre-less’ music seems to be thriving Bartees Strange is a shapeshifter with genuine grit, girth and emotionality.
An intensely summery, optimistic return for Foals, Life Is Yours encourages listeners to grab hold of life and keep dancing through festival season and beyond.
Steve Davis – a six-time world champion snooker player who earned a reputation for being boring – is an enormous prog fan who, at the age of 64, is now composing his own out-there music.
On this third album, Nick Mulvey gets further under the skin, coming across as the thinking person’s George Ezra (no bad thing) or a more energetic Mac DeMarco.
Lethal B vs. Lethal Bizzle, comprising seven mostly short tracks and an interlude, might end up making you hungry for more because it’s a lot of fun.
As with its predecessors, the cover of Angel Olsen’s new LP Big Time is a photo of its creator, instantly establishing it as the third in a trilogy of epic personal dramas.
Fun and playful as Gold Rush Kid is, there don't seem to be any further bangers with summer mega-repeat potential from George Ezra here.
GWAR frontman The Berserker Blóthar tells us: “This is the greatest rock record of all time. These are the songs for a new age, a New Dark Age, when men live by the dimming light of technology destined to betray them.”
Ural Thomas has graced the same stages as James Brown and Otis Redding, and on Dancing Dimensions, still has a voice to match those two icons.
Horsegirl have managed to encapsulate their overlapping, likeminded styles and friendship into a carefully crafted postpunk debut, Versions of Modern Performance.
Cave and Ellis' La Panthère Des Neiges soundtrack deserves to resonate for many years to come, the same way as Ry Cooder’s music for Paris, Texas or even Vangelis’ Blade Runner.
With Nothing To Declare, 700 Bliss have made something musically and politically radical, and some fine craic to boot.
The wife and creative partner of Suicide's Alan Vega, Keep It Alive, Liz Lamere’s debut, has a dark, infectious electro/industrial groove running through it.
Claudio Sanchez, the frontman of Coheed & Cambria, has a knack for shrouding personal stories behind ambitious science fiction concepts. New album Vaxis II is no different.
Liam Gallagher returns with his third solo album, and he’s getting better and better as time goes on. His first two solo albums combined don’t come close to C’mon You Know.
Production duo Subjective, made up of Goldie and James Davidson, weaves in various soulful musicians on their second collaborative album.
Malicious Intent is a giant of an album and represents a massive step on the upward curve that Malevolence find themselves on.