Justice’s sound is still huge, still bludgeoningly and pleasingly direct.

‘Bronco’ flits between theatricality and poignancy, almost every song sounding like it could score a Western’s pivotal moment with ease. Helmed by the singer’s powerhouse vocals, it’s impossible not to be drawn in throughout the album’s 15 country-rock-song run.

This stripped-back, honest approach exposes the inconsistencies and vulnerabilities of the man, while also bringing to the exterior the charisma and charm of a laissez-faire psych icon.

‘Soberish’ sounds more like her early work, with its lo-fi stylings and ramshackle guitars. Lyrically, this record teases her more sentimental side, but even then, she openly admits to not wanting to reveal her true self to the listener.

It’s not all perfect: the previously-released title track clocks in as a fairly innocuous hoe-down, while the slightly uncomfortable spoken word midpoint of ‘Florida’ makes for a jarring addition. Still, when ‘Homegrown’ soars, it acts as further proof that few in history can reach the emotional peaks that Neil Young can.

An elegant, engrossing return, that marries its creators’ love of both industrial and ecclesiastical aesthetics while remaining accessible and emotionally easy to grasp. Welcome back.

With ‘Worldwide’, Snõõper continue to capture their bizarro universe, at the core of which is the same erratic intensity that many fell in love with two years ago.


This is a record made for the cavernous expanse of Brixton Academy, fancy light show in tow, chant-a-long choruses guaranteed.

An excellent collection of soul-bearing Americana.

Ultimately, as beautiful as it is in its more subdued moments, the album feels fully realised when her alternative and mainstream instincts find each other.

An album that manages to be both delicate and thunderous at once, ‘I Slept On The Floor’ is a potent and empowering statement of intent.

Nick Cave’s lyrics have always dealt with love and grief, so while the themes seem more poignant because of his loss, in truth the content isn’t so different. It’s the raw nature of the tracks themselves that hit harder than usual.

The trio deliver at once their heaviest, catchiest, most decipherable and least predictable album.

An early contender for one of 2015’s most welcome returns.

It serves us like a well-bound photo album which we can flick through and see snapshots of the band at certain moments in their short, yet successful, life so far.

Clashing, cluttered, chaotic, challenging, ‘McCartney, It’ll Be OK’ is a venture beyond the conventional consideration of ‘progressive’, one to simultaneously blow eardrums and provoke minds.

Featuring minimal hooks, guttural yelps and harrowing production, Government Plates sounds like nothing else this year--so in other words, it sounds a whole lot like Death Grips.

[Anxiety] retains all the best things about her debut while expanding on both her sound and style.

Broaching love, lust, power-dynamics, jealousy, and heartbreak along the way, Years & Years bring that all important human touch to their massive pop anthems.

The band remain successful at finding lush nuances in their well-established formula and ‘Formal Growth in the Desert’ packs more hooks than any of their albums since 2015’s ‘The Agent Intellect’.

It's one of those albums you could listen to again and again.

We can’t choose how we’re made but we can choose what we make, and what Against Me! have crafted here is nothing short of exceptional.

Puberty 2 leaves no stone unturned in its attempt to make grim tales seem even worse than you could possibly imagine. It’s a brutally tough shock to the system, one that will leave its trace for years to come.

By opening up their songwriting process, the band have managed to carve out an even more singular sound. The possibilities from here seem endless.

Howlin' Pelle and co... have returned with the pomp, charisma and contagious sense of fun they're known for, with a surprising variety added in to the mix.

A riveting fullness echoes throughout the record.

‘Breaking…’ offers up a feast of exuberance, standout track ‘Riots and Jokes’ musically epitomising the album’s forward-charging freedoms, and neatly sums up Quasi’s modus operandi there in its very title.

There are a couple of misses, particularly ‘G.O.A.T’’s obvious attempt at a sports montage soundtrack, but largely ‘Happenings’ is full of genuinely interesting choices. Free to indulge all the multitudes of his tastes, Pizzorno is managing, against many odds, to keep Kasabian moving forward.