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While this album is by no means a huge leap forwards for Amidon it embodies so perfectly the traditions with which he is enamoured, and of which he is slowly becoming a part.
They mostly eschew the synthetic in favour of organic, world noises and create a record that, from start to finish, is a delirious pleasure.
The second album by NYC-via-Austin’s Martin Crane as Brazos is a freewheeling pop odyssey, inspired in part by Herman Melville’s Moby Dick.
The French duo have not only made a career-defining album, but the smartest dance album since disco. – a perfectly imperfect vision of humanity as seen through the eyes of two androids.
Boats’ capacity for concentration is small. The only thing they seek to dominate is the madcap universe inside their collective imagination but it’s worth a visit.
Baths returns with a more accessible but thoroughly downbeat second offering which he considers his “weird version of a pop record”.
On their long-awaited tenth album, the compellingly inconsistent Primal Scream sound genuinely determined to prove themselves but whether they pull it off or not is another question.
Uncompromising and challenging, Re-Mit is as focused a vision as Mark E. Smith and co have produced in a while and ultimately, it’s exactly what you’d expect them to sound like in 2013, with 30 albums under their belt.
By plunging impassively into their own hearts of darkness, Lanegan and Garwood demonstrate that there’s still plenty of life lurking muddy waters of blues.
The Austin trio’s new record still packs the same textured musical punch, it just draws from a deeper, more vulnerable source.
Having turned her gaze inwards, Scout Niblett avoids over self-indulgence for a universally appealing yet very personal record.
Charlie Boyer & The Voyeurs have crafted a solid debut. There’s plenty of charm, and though a lot of it has been beaten to death before, it’s still a really fun record.