Beatrice Dillon’s latest album explores her interest in control through machines, her show last week showed how this can be done with humanity.
Having littered minimal compositions in releases throughout his career, the results across a full album are undeniably powerful.
On his sophomore album Dining Alone however this approach is taken to new, surreal depths as if a lonely walk had turned into a stroll through a hall of mirrors.
Continuing the tradition of there really not being any bad Destroyer albums, Have We Met has a number of peaks that put it among Bejar's best.
Characterised by brutal candour that's often dredged through gallows humour, Watch This Liquid Pour Itself is very much a companion piece to 2019's Both.
Later, when she sings, "My body's buzzing as I start to dance" on 'Street Light Blues', yours ought to follow suit.
Whilst Workaround captures the hypnotism of sultry, dusky nights in the club, drawing on the spaciousness of dub and experimental electronica, it's also an incredibly intimate record, deserving of attentive solitary listening.
It's the album's instrumental infrastructure - its taut beats and warm synths - that give most pleasure; firm foundations, at least.
2020 should be dominated by Allie X.
His acoustic rendition of David Bowie’s ‘Buddha Of Suburbia’ feels uncannily suited. An impeccably considered opener, his bare-skinned vocal hauntingly projects around the still audience.
Now, these 10 tunes offer a delicious fusion of his highly-syncopated drumming with some exquisitely lush grooves, topped off with an electronic flourish.
Ending with that magnificent title track, she is truly laying down a marker, following those sought-after London residences with a fine, nuanced, and endlessly exhilarating new EP.
"tonight proves that Corin Tucker and Carrie Brownstein are undeniably two of the greatest rockstars we have" - the mighty Sleater Kinney live at Brixton Academy.
Suddenly hits far deeper, like the emotions laid bare in its predecessor were compressed into a kaleidoscopic prism that Snaith uses to explore each new song in minute detail.
By the end, it feels as if The Growlers have played the 1,700 capacity Roundhouse as effortlessly as they would to ten people in a small dive bar, which is perhaps how their brooding pop songs work best.
The contrasts between Channy Leaneagh's ethereal hyper-pop vocals and sardonic lyrics steeped in cryptic metaphor are exquisite - an aural to-and-fro that seems to epitomise the whole process of realising one's vulnerability.
"Gately’s necromancer aesthetic makes sense, given that her production chops are truly their own kind of occult magic – conjured most artfully on 10-minute centrepiece ‘Bracer’"
Romantic Comedy, though, is the logical step from pop rushes and speedy crushes to something more tangible, more satisfying - with a few sweet crushes thrown in on the way, of course.
"to get the sold-out crowd fully on board, they stroll into a verse-chorus of Gwen Stefani's 'Hollaback' before seamlessly running into the aforementioned 'Rollerskate'" - Gurr live at The Lexington last week.
"It’s rich, expansive pop that feels an exciting place to be" - Poliça live at Village Underground earlier this week.
Perfectly polished, it seems the label’s long-standing mission of creating a new kind of popstar have been fully realised on Reflections.