Rainbow Mirror is immersive, exhausting, and decidedly flawed. However, the strengths are more than enough to carry it forward, and the flaws are just a reminder that Fernow is at his best when he’s not holding back.

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.



Though this turn towards all-out pop music doesn't breed inherently bad music (in fact, it's quite pleasant), but it's not the reason we fell in love with Dum Dum Girls.

There are times when the album feels like it starts to tread the same ground, but there is also sign that Jungle have it in them to do things that are different.

The poor lyrics and minimal change in style makes almost all of Luck's tracks sound like slightly more polished B-Sides to his debut of 11 years previous.

Heyoon accomplishes what many fuzzed-out, shoegaze inspired bands strive to do--create an album that is heavy, sludgy, experimental and equally precise; musical, catchy.

There are a few isolated moments of satisfaction, like the ‘Freres Jacques’-esque guitar melody on ‘Welcome to My Planet’ and the accordion leading into the discombobulating melody on ‘Queen of Koalas,’ but there isn’t a single track that comes together as a complete idea nor is there a single moment where it sounds like Xiu Xiu and Larsen are on the same page.

The result is dense, hard to categorise, and an exhilaratingly beautiful work full of blinding light and doomy shade.

Wysing Forest has a time and a place but unfortunately falls short of the mark that was set by Abbott's previous memorable output and the work of his peers.

He never carves out a distinctive sound for himself, opting instead to show off the breadth of his musical abilities--it's impressive, yes, but noncommittal.

Moves the bar considerably higher from their brilliant debut album of 2017 Come Play the Trees.

Cranekiss is a carefully crafted and wonderfully written record and beyond that it marks a new, exciting step in Tamaryn's career.

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

Some bands are lucky and talented enough to find a format that works and just make hay with it. Rhye are plainly in love with their formula on Blood. The result is a finely balanced gem.

Good Fruit is an album that wears its emotions on its sleeve, but never overplays them. Far from insistent, it’s perfectly pleased to offer just what you need, and nothing more. Take from it what you will.

After The Disco is an unashamedly brilliant pop album that might just be the right kind of stuff to get you through the remains of winter.

One feels that the band's lid has to blow at some point with so much emotional pressure bubbling beneath the surface, but for now, the group remain solid crafters of beautifully tense music.

As Vic Mensa will continue to be one of hip-hop's most buzzed about figures, his full-length Roc Nation debut is a patchy tale of contemporary rap, as Mensa tries to find the line between intimate self-confessions and "inspirational" anthems.

The White Album is a return to a particular state, but it was never going to be a return to form.

This album is catchy. There is nothing wrong with writing catchy songs. Melody matters. Listenability matters. But this album feels like priority was put on making sure there were hooks in each song instead of letting the songs form organically.

Low just put out their best album in a decade, and For Good seems to be following the same path.

The Faint have come back in from the cold with the release of Doom Abuse, and frankly it's like they never went away.

Shake Shook Shaken rocks with an infectious confidence as they brim with a determination to survive.

Overall, The Dew Last An Hour is a solid debut.... it's all been done before.

The blend of psychedelic, stoner riffs and driving percussion on tracks like 'Towers Sent Her to Sheets of Sound' sits comfortably alongside the quiet waltz of 'Necronomicon' and exhibits just how exciting, thrilling and moving rock can be.

The tracks here, whilst enjoyable and (for the most part) produced extremely well, amount to a record that lacks the impact of SBTRKT's debut.

David Crosby simply continues down a path he established for himself a long time ago, and even if he has encountered a few bumps along the way, this is a record of a man who has done everything he wanted to do with his life, and Croz emerges as the final piece of the puzzle.

Donovan Blanc may lack a bit of originality, but when countered by a distinct lack of pretension like this it doesn't seem to matter.