There’s a slight irony in the fact that an album so jam-packed is entitled ‘Silence Is Loud’, but the remarkable feat of Nia Archives’ debut is that it somehow never feels too much or too choppy; for all its referential nods and sonic variation, this is still a project that is cohesively, distinctly her.

Confidence and swagger flows through the album as a whole, with every twist and turn adding another colour to its extraordinary palette. The sound of an artist hitting their stride and then some, ‘That! Feels Good’ really does live up to its name.

‘Fear of The Dawn’ is very much like the kind of party where you’re hoping daylight stays away for some time yet.

As Biffy-ish as ever, with its cranked-up guitars and stadium-sized hooks, it’s also a deliciously unusual listen, shifting gears from the dub-flecked ‘Instant History’ to the unhinged scorcher of ‘Cop Syrup’. And while ‘A Celebration of Endings’ does explore the current frustrations felt by the band, both political and personal (“We’re fighting an ugly war / And it’s no good to freak out,” sings Simon Neil on ‘Weird Leisure’) it also offers up a brand of gut-wrenching, defiant hope.

‘Song For Our Daughter’ presents a poignant snapshot of the complexities of femininity - both ones imposed by society and ones engrained in Laura’s past. Some moments are remarkably candid.

Infectious, exciting and even a little hedonistic during some of the most confusing of modern times, now’s never been a better time to get lost in this new destination.

'Shrines' is a joy from start to finish, with a sticking power that so many others seem to lack.... It would be no surprise to see Purity Ring top the end of year round-ups.

An album that does absolute justice to her status as a new, genre-defying voice in rock. From the drum and bass drive of ‘Sex Metal’, through to the more bubblegum pop of ‘Sugar Rush’, via the reflective epic of ‘Over It’, these fourteen tracks swerve through different iterations of the genre with confidence and ease.

‘Dragon New…’ is largely an epic of intimate, stripped-back proportions. Put simply, it’s a masterpiece.

Simple, catchy, and ruthlessly energetic, it’s an irresistible mix, and refreshing to hear a band oozing with such raw passion.

Fontaines DC have crafted a clear, unedited picture of who they are and what they’re made of. It’s a joy to witness.

A pristine collection that’s at once the past’s idea of the future as it is the here and now.

On ‘Chloë and the Next 20th Century’, Father John Misty is transporting himself to a different world; it sounds pretty damn sweet over there.

It’s when the pattern deviates somewhat from the expected that ‘The Night The Zombies Came’ is at its most exciting: the ’50s sonic cues that peppered ‘Doggerel’ remain, but the spite doesn’t.

At every moment ‘Home Video’ presents a vivid snapshot into an upbringing that fundamentally defines Lucy Dacus’ adulthood. In each tale she finds both loss and hope, a musical representation of the intricate jigsaw of life.

It should go without saying but it needs to said: this is an intricate, jarring and complicated piece of work and is undeniably brilliant.

A record that perfectly shows her growth as an artist - and a collaborator - ‘Belong’ proves to be more than worth the wait.


‘Night Network’, far from being the exercise in kicking and screaming that it might have been, is instead a study in elegance in the face of adversity. The Cribs are back.

Sorry have somehow managed to mould something immediate and accessible but undeniably in their own image. It’s a truly special debut, one that makes strange magic at every turn.

It’s comprehensive in its variations of electronica, dance, Scandi-pop and R&B, creating a colourful body of work. Its forward-thinking, lush alive-ness cements Zara as a largely-overlooked genre VIP.

This is a gorgeous album of soundscapes that are able to stand up alone.

An album that makes no bones about delving headfirst into the terror, anger and fatigue of our present day, it may not be the most lighthearted of listens, but it’s a fiercely potent and important one.

Lonerism is an absolutely amazing and inspiring record.

A bright and inviting pop album that brilliantly captures the emotional snapshots of life.

This fourth album is undoubtedly a return to something: full of raw, barely restrained bite, it’s as if they’ve taken all the sparky, unself-conscious vigour of their 2018 debut and, in their relative maturity, learned to wield it even more potently. Ever the rabble-rousing ringleader, Charlie Steen is on vintage lyrical form.

As a first collection of work from the band this is a stunning release, bursting with life and creativity and fully deserving of the attention and praise that is bound to come its way.

It’s early to say, and its bold for sure, but there are a fair few legendary bands out there that were never quite as good as The Murder Capital are right now.

The Center Won’t Hold is by far their most stylised, radio-friendly work to date; produced by St Vincent, Annie Clark’s icy sheen and dark seduction is all over the record.