Domino - 27th March Floating & flitting between every underground venue in the UK on a cult fanbase formed around the heroism of their Bandcamp...
Weighty themes indeed, but it's an uncomplicated treat of a listen that contains some of Remy's best work.
Demonstrating anxious techno that varies in intensity and tempo, it's intricately packed with modular vocal inflexions and experimental electro...
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.
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.
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.
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.
Perfectly polished, it seems the label’s long-standing mission of creating a new kind of popstar have been fully realised on Reflections.
Here, Souleyman’s singing seems to revel in the time and space to create something fragile.
Yet the tenacious, rhythmic loops of the band’s oft-colourful electronic rock sporadically cradle us from being swallowed into a total funk, instead lifting us up into the funk.
Although the results are a bit too eclectic and random at times to feel like a well-rounded album, you get the sense with ShitKid that’s the sort of thing they wanted you to expect.