Shabaka Hutchings’ brilliant career continues with the invigorating sophomore record from The Comet Is Coming.
Snapped Ankles’ second record ‘Stunning Luxury’ is a whirring, unsettled mix of post-punk, krautrock and electronica, and is frequently absolutely brilliant.
‘Assume Form’ is not the kind of cold and subdued album for which many have pigeonholed James Blake, but a warm release, full of intricate hooks and devastating lyricism.
After years of being the support act for indie stalwarts, it’s time for The Japanese House to take the centre-stage for themselves – and, by and large, they do this well.
An exhilarating 22-minute blast of bizarre and inventive fun, ‘FM!’ might be a detour in the journey of Vince Staples but shows exactly what music ought to be in 2018.
While it contains little in the way of surprises, Marissa Nadler’s eighth studio album ‘For My Crimes’ is dependably spellbinding and lovely.
Geoff Barrow’s Beak> project continues to march slowly towards mainstream accessibility with new album ‘>>>’.
A significant improvement on their debut, Maribou State’s second effort ‘Kingdoms In Colour’ is brilliant when the duo’s ideas land.
While it’s probably her least absolutely brilliant effort in purely musical terms, Anna Calvi’s third album ‘Hunter’ is nevertheless an eloquent and compelling statement on gender.
Dev Hynes paints a beguiling portrait of horror and beauty, reflecting 2018 back on itself with his fourth Blood Orange album ‘Negro Swan’.