On their third album, Nashville’s Colony House return to the colossal, yet pensive indie rock anthems of their debut with a mix of old tricks (hope-filled lyrics, thundering soundscapes) and new ones (playful beat switches, danceable grooves).

An ingratiating warmth washes over, and at times threatens to smother, Bombay Bicycle Club’s fifth album—the band’s first since their loosely-defined hiatus from 2016 to 2018. The English four-piece took a surprisingly adventurous path to indie-rock fame in their first spell, evolving from spiky post-Arctic Monkeys rock to lush-indie pop over their first three albums.

The debut effort from London-born singer-songwriter Kalim Patel under the pseudonym Khushi is a real slow burner. Perfect for January blues—much like last year’s offering from his mentor and album mixer James Blake—Strange Seasons offers a strong running list of compositions that rumble, like sounds echoing around the forest of a dense Nordic winter.

There’s a blindsiding brute force to much of Watch This Liquid Pour Itself, Kaya Wilkins’ second record under the Okay Kaya moniker, and her first released on Jagjaguwar.

Forget the naysayers who’ll tell you it was too polished and kitsch, the 1980s spawned some of the most innovative sounds in the history of music.

Imagine creating a mixtape whereby it wasn’t a case of simply selecting tracks, and deciding on the running order, but you actually began recording and producing a selection of much-loved songs enlisting the services of some of your favorite artists.

It is an unmistakable fact that Bill Fay’s rise to prominence in recent times is one of the greatest stories of contemporary music.

James Alex’ ongoing, fireworks-beautiful, heartfelt and heart-worn tribute to Rock ‘n’ Roll & The Spirit of The Replacements (TM) reaches its potential peak here on his fourth full length (taking into account 2018’s sometimes transcendent Quiet Slang record).

The fragrance of a marigold is anything but subtle. In fact, the flower’s pungency is believed to have the strength to lure the dead back across the threshold to the living. Many of Evan Stephens Hall’s songs on Pinegrove’s third studio album, Marigold, seek that same path out of stasis and back to normalcy.