Unknown Mortal Orchestra’s fourth album ‘Sex & Food’ contains much musical progression, but still showcases Ruban Nielson’s unique songcraft.
Greta Kline’s Frankie Cosmos project goes from strength to strength, and ‘Vessel’ confirms her as one of the finest songwriters of her generation.
Refracting the pop and rock psychedelia of the Sixties through the prism of modern songwriting and with soulful delivery, The Shacks have delivered what will surely be regarded as one of the best guitar debuts of 2018.
The erratic and diverse sound of Sunflower Bean’s debut has been transformed into maturity and consistency on sophomore effort ‘Twentytwo In Blue’.
Preoccupations’ third record ‘New Material’ is just as nihilistic and apocalyptic as their earlier albums, yet also more melodic and accessible.
Phil Elverum’s ninth LP ‘Now Only’ is a record with more questions than answers, but which develops superbly on what was a decade-defining album.
The 15th of Montreal album ‘White Is Relic / Irrealis Mood’ might be the long-awaited re-affirmation for fans that Kevin Barnes is still capable of constructing something that resonates with more people than just himself.
‘Clean’, Sophie Allison’s second Soccer Mommy album proper, will connect to an even wider audience using sweet melancholy sounds combined with lyrics of trauma, weakness, self-destruction and heartache.
Following up a highly promising debut with a mature and accomplished second effort, Lucy Dacus’ ‘Historian’ is one of the musical triumphs of 2018.
Although it’s taken a while to arrive, ‘All The Things I Never Said’ is a promising starting point for Pale Waves that leaves a lasting first impression.
