Singer and instrumentalist Jack Tatum has carved out a distinctive niche in the pop landscape with his band Wild Nothing, crafting atmospheric anthems steeped in '80s new wave and dream pop aesthetics. He further conjures an evocative '80s vibe on 2023's Hold. Interestingly, while Hold is the first album Tatum has produced on his own since his 2010 debut and largely finds him playing many of the instruments himself (along with a small group of musicians), it's one of his most lush and pristine-sounding albums. Here, he frames his resonant croon with sparkling keyboards, crisp electric guitars, and exotic, acid house-sounding drum grooves. It's a musical vibe that brings to mind a kind of cross-genre blend of pop, dance, and soul redolent of the late '80s and early '90s.

In the couple of years leading up to her debut album, True Romance, Charli XCX issued a slew of singles, EPs, and mixtapes that mixed moody synth pop with rap and R&B into a sound billed as "neon goth." Despite that somewhat awkward description of her style, Charli does have a flair for chiaroscuro, switching easily from brooding ("Set Me Free") to sparkly ("Take My Hand"), sometimes within the course of one song ("You're the One," one of five previously released tracks here). In some ways, she's the opposite of Grimes, who sprinkles just enough sugar over her quirky musical ideas to make them accessible. Instead, Charli XCX's songs are pop with a capital P – she's unabashed in her love for Britney and Mariah – but just odd enough to be unique. Like Quentin Tarantino, to whom True Romance's title pays homage, she has a flair for combining a wide array of pop culture sources into something fresh and familiar, as well as a fondness for strong female characters.

Somewhere in between living with Peaches, playing guitar with By Divine Right, rapping with Chilly Gonzales, and singing with Broken Social Scene and Apostle of Hustle, Canadian songstress Feist started a solo career. Following up 1999's self-released Monarch, Let It Die was recorded in Paris between 2002 and 2003. The romance of the City of Lights glows throughout as a combination of folk, bossa nova, jazz-pop, and indie rock finds its place among the 11-track song list. She'll woo you with her sultry vocals throughout, a delicate and sweet voice that feels cozy. From the warm shimmy and shake of "Gatekeeper" and "Mushaboom" to the classy R&B grooves of "One Evening" and "Leisure Suite," Feist explores various musical worlds without getting lost. She reels you into different soundscapes and it's an exciting adventure.

Merge Records release I Am Not There Anymore, The Clientele’s first new record in six years. Over The Clientele’s 32-year career, critics and fans have described their songs with words like “ethereal,” “shimmering,” “hazy,” “pretty,” and “fragile.” Their singer, guitarist, and lyricist, Alasdair MacLean, has his own interpretation of the effect his music creates. “It’s that feeling of not being there,” he says. “What’s really been in all the Clientele records is a sense of not actually inhabiting the moment your body is in.”

With tongue firmly in cheek, the Cardigans decided to play up the candyfloss arrangements of their debut for second album Life. Where Emmerdale studied an introverted melancholy, Life is undiminished in both its independent-minded exuberance ("Hey! Get Out of My Way") and zest to enjoy life with others ("Daddy's Car," "Gordon's Gardenparty"). The incredible production and quality of arrangement from the debut are here also, even more strikingly crisp and spot-on. (Over 50 instruments were used on the 14 songs included on the Minty Fresh American release.) Though the Cardigans planned Life as something of a joke, it became one of the finest pop albums of the '90s.

The Magnetic Fields’ Quickies will be released on Nonesuch Records on May 29, 2020 (digitally on May 15). The five 7" vinyl box set features twenty-eight new short songs by Stephin Merritt, ranging in length from thirteen seconds to two minutes and thirty-five seconds.

This compilation of 39 tracks, rather arrogantly titled The Album, offers a good mix of current guitar-based pop, rock and indie with the bonus of Fatboy Slim's housey "Star 69" and Roni Size's "Dirty Beats" tacked on the end. This is the sort of album you could expect to hear down the student union bar with a range of songs to cover all bases for even the most fussy of compilation critics. CD2 holds the indie-rock lighter in the air with Coldplay's "Trouble" and David Gray's "Late Night Radio" sandwiched between tracks by likely lads Supergrass ("Movin'") and Blur ("Coffee & TV"). Less obvious inclusions are alt.country masters Grandaddy ("The Crystal Lake") and gentle folkies the Kings of Convenience ("Toxic Girl"). CD1 is the less easy-listening of the two with some rock guitar riffing from the Manics ("You Stole The Sun…"), JJ72 ("Oxygen") and perfectly hip Placebo's "Taste In Men". If you're not into dance and the latest compilation from clubland isn't your cup of tea, then this could well be The Album before a good night out.

Having successfully crossed over from the bedsit to the mainstream throughout 1989 and 1990, independent artists quickly began to dominate the British musical landscape, bringing an authentic new energy to a stagnant, Thatcherite pop scene. 1991 saw countless indie artists score hit singles and albums as the scene continued to mutate and adapt regionally, politically and aesthetically - from Manic Street Preachers’ urgent, punk-infused anthems and the outer edges of shoegaze and psychedelic songcraft offered by Chapterhouse and Levitation, through to the dancefloor friendly adventures of Flowered Up and St Etienne, the art-school informed Kingmaker and established baggy favourites The Charlatans, 1991 offered up the broadest and richest smorgasbord of accessible, street-level artists the UK’s youth had known in a decade.

It’s ten years since Ane Brun marked her first decade as a recording artist with the release of Songs 2003-13, a career-encapsulating double album. Now, with her international reputation flourishing, Songs 2013-23 allows the distinguished, platinum-selling Norwegian singer songwriter to celebrate her second decade in the business – not to mention her multiple Norwegian and Swedish Grammy awards – while also illustrating the ongoing, fascinating evolution of her singular, compelling talent.