All in all--strong lyrics, powerful vocal harmonies and unpredictable melodies make Choir of Echoes a fascinating, enjoyable listen.

It's not a radical upheaval and it's nothing especially new--at least as far as Yorke's output is concerned-- but then it doesn't have to be; he's been pioneering an often-unique sound for so long now that I'm just happy to have some other songs to listen to.



It may well be overwhelming in the moment, but Migos have provided us with a lot to unpack as we await whatever comes next. Chances are, you'll like this album far more after the glut of material becomes a tad less staggering over some months.

He's far too savvy to stagnate. And as long as he keeps making records like this one--so palatable they might be guilty pleasures were they not so rooted in pristine indiepop--his music will remain relevant.

It’s full of layers and little emotions, rather than just being a slave to the bigger issues and emotions, and that’s what makes it authentic.

The most exciting thing about the soundtrack for Good Time is just how kinetic it is.

These are sprightly, assured, gratifying pop songs, pirouetting with enough agitated inventiveness to ensure each run is sunny, surprising, and fluently fun; a damn fine Summer record.

If there is a criticism to be made, it is that at times the whole thing can be a little too low-key.

Compassion is Lust For Youth's most compact album, with only 8 tracks, and benefits from its trim nature.

There is no denying that Loom is a beautifully fragile album.

As with their previous releases, Arms Around A Vision suffers slightly from lacking a style and sound distinct from its easy to spot influences, but where it also differs is that it marks the turning point where Girls Names are starting to figure out exactly what kind of band they really sound like.

Keepsake feels a bit more akin to a tentative step forward than a leap into the stratosphere, but for a debut it's stuffed with endless charm and promise.

Everything Else Matters is an inventive, often genuinely exciting blend of noise and pop sensibilities not really heard since the early days of Lush.

Contrasting One True Pairing’s sleek sound, Fleming is consistently willing to dampen the mood with world weary, starkly honest observations as to our current cultural reality. Whether it’s toxic masculinity, paranoia, or an all too real fear of global collapse, the record lays all things bare.

Menace Beach’s Black Rainbow Sound is one of the most accessible and thrilling noise rock albums out there at the moment, and it's not even close.

With the exception of the chart beckoning 'Out of My head' with Tove Lo, every track here has the structure of subverted pop destined for the decades beyond.

Although it brings nothing new sonically, Jellies is a magnificent example of how a déjà-vu doesn't have to be a mere repetition: it constructs instead of occupying, pays tribute instead of mimetising, carries on instead of resurrecting.

Goodbye Terrible Youth is not a perfect record by any means--but it is an emotional record, and an affecting one at that.

A whole album of bare arrangements might have been too much to take, but The Fact Facer applies variety and imagination throughout, which doesn't dilute the melancholy, yet ensures that the album doesn't become an overbearing listen.

Beach Music, which is a deceivingly simple title for an album of such depth, is the best collection yet from a young musician who has clearly honed on something truly worth noting.

Although Stuff Like That There drags a bit, it's lovely to think that Yo La Tengo parse through their history as closely as their biggest fans do.

It's a good album, full of high points, but it never excites in the way it threatens to.

L’Orange L’Orange doesn’t exist in one place or detail specific events, which is to say it’s a fine contrast to the 21st century’s culture of volume. It simply is, and that gives it grace.

It’s short, powerful, and set to turn your insides out.

As far as debuts go, Boxed In practically oozes potential. Bayston is a master craftsman, and Boxed In is dangerously close to harnessing his full potential.

Favouring whirligig aimlessness, knock knock doesn’t repurpose electronic music like Amygdala; but in avoiding “things and sounds,” it never has aspirations otherwise. Pleasure both innocent and decadent is its prerogative.

They effortlessly shift between the twinkling and sparse to the thundering and assertive. The Planet continues their crusade of love from their debut album.

LUMP is a creation that both composers stressed passed through them and they look upon parentally and this is evident as an articulation of the artistic detail of the contemporary, through Lindsay’s colourful soundscapes.