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Fist City: Everything Is A Mess
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English Teacher
This Could Be Texas
There are surprises everywhere. While "R&B" and "Nearly Daffodils" are sprightly, irreverent post-punk, the influence of Black Country, Nee Road nd Radiohead are evident on the complex, proggy title track and the diverse, hushed final third of the album. Print edition only
Uncut
Porij
Teething
A confident debut that acts as both the party and the comedown
DIY
Porij
Teething
The quartet's debut album sees them striving not to retread old material – and adds more emotion and texture to their uptempo sound
NME
Porij
Teething
Porij’s confident and assured debut delves into their love for not settling for one genre. Taking you on an adventure through emotions and soundscapes, it’s a fluid record that never stands still
The Line Of Best Fit
Porij
Teething
Porij haven’t just cut their teeth here; they’ve gone straight for the jugular, torn it to shreds, and now reign victorious
Dork
Porij
Teething
The Manchester band sing about edginess and emotional danger, but never manage to give their beats any tension
The Guardian
Beyoncé
Cowboy Carter
The Age of Pleasure could have been made by an artist other than Janelle Monáe, but there’s no way COWBOY CARTER could have been made by anyone other than Beyoncé. We’re lucky to have her
No Ripcord
Cloud Nothings
Final Summer
From the moment it starts to its very last note, Final Summer comes rich with gargantuan hooks that make you feel alive
No Ripcord
Justice
Hyperdrama
The French electronic titans’ fourth album is sleekly aerodynamic, expensively appointed, and stacked with bold-name guests like Tame Impala and Thundercat. If only there were some real drama
Pitchfork
St. Vincent
All Born Screaming
On All Born Screaming, St. Vincent suggests the end of life is really just a new beginning. Love is the purpose. There is no joy without pain
PopMatters
St. Vincent
All Born Screaming
It’s music that evokes the terror we all share in just being alive, and the way that fighting through it is a form of constant rebirth we all share, too. That’s the kind of truth this album excavates and celebrates many times, and why this is some of Annie Clark’s most satisfyingly urgent music yet
Rolling Stone
St. Vincent
All Born Screaming
Rich in Rid Of Me-era PJ Harvey distortion and sludgy guitars straight from Seattle
The Arts Desk
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