Self Esteem’s Compliments Please is a positive indication that creative, labour-of-love alternatives to production line pop is still very much alive and well in 2019.
Good at Falling cracks open the door and successfully allows The Japanese House to make an impressive and compelling connection.
Ladytron is one of Ladytron’s most essential records and one that builds on their surprisingly long tenure as one of the most influential electronic bands of the last 20 years.
Don’t Feed the Pop Monster is Broods’ most classically pop album so far and also their best. If it isn’t a hit then don’t blame them and instead look take a harder look at the current state of pop culture as it continues to merrily eat itself.
In New Breed, Dawn Richard has become the master of her idiosyncratic sound, a true one-off who creates what she loves.
Remind Me Tomorrow is Sharon Van Etten as she is right now with a new page turned and brilliantly, fearlessly looking forward.
Not a top 10 as such, John Preston gives you the 10 films of 2018 you may have missed but should watch immediately.
John Preston finishes his round-up of the best albums of the year.
John Preston has revisited the abundance of amazing music that was released over the last 12-months and picks what he considers to be the very best 10 albums of 2018.
LA native and singer-songwriter Miya Folick has taken her time to settle on and refine a sound in assured debut Premonitions.