After the harrowing self-doubt and heartbreak of ‘Dirty Projectors’, David Longstreth emerges into the light of hope and new love on ‘Lamp Lit Prose’.
Melody Prochet uses ‘Bon Voyage’ to showcase a quite different Melody’s Echo Chamber than the one we remembered from six years ago.
Tying up the loose ends from 2017’s ‘Relatives In Descent’ and throwing in a couple of brilliant collaborations with Kelley Deal, Protomartyr’s ‘Consolation’ EP is another triumph.
Now in his fifties, Stephen Malkmus’s appetite for casually experimenting with his mellifluous indie-rock sound is only getting more voracious, as ‘Sparkle Hard’ demonstrates.
Alex Turner has certainly split the Arctic Monkeys fanbase with ‘Tranquility Base Hotel & Casino’, one of the strangest and most divisive albums to come from a major artist in a very long time.
Jon Hopkins’ ‘Singularity’ is one of the best-produced British dance albums of recent years.
‘All That Must Be’ is by no means a perfect record but is a record which continues to show the promise of George FitzGerald.
One of the most hyped-up debut albums of 2018, ‘Superorganism’ doesn’t fail to please, although the eight-piece group don’t really show us anything we didn’t already already know about them.
With limited but highly enjoyable successes on their fifth album ‘Always Ascending’, Franz Ferdinand can still claim to have relevance in 2018.
Recovering from tragedy and set for a serious chart success, ‘Microshift’ looks like it will be the ticket to mainstream visibility for Leeds’ Hookworms.