Their future is full of possibilities; thankfully they didn’t go before their time after all, as Promise Everything is their best work yet.

He should be commended for going light on the MC features--the bluntly-titled ‘Grime’ is proof enough that he can hold his own on a beat.

The record plots a gorgeous curve from open to close, with earthy drum rolls rubbing up against rusty industrial buzzsaw synths and field recordings serving as segues.

At times, it feels like a test drive, pushing the boundaries to prove to itself what can be done. But when he concentrates his focus and narrows his noodling, it delivers substance and heft.

This may not quite be the best punk rock album about the Trump era you’ll hear in 2018--fellow 50somethings Superchunk already had a decent crack at that title--but it’s certainly one of the year’s most enjoyable bundles of rage. A thoroughly welcome return.

There's certainly a harder edge to the sound, yet the songwriting is the key, with a set of tunes commercial enough to sucker you in, yet complex enough to maintain interest.

While it's lovely to have them back, this album is more of a pleasant addition to the Mercury Rev catalogue than a defining moment.

Vulnerable, complex and beautiful, it is an album that gets richer with every listen, and cements Hutson’s status as a songwriter to take notice of.

As dense as it is bare, the aural fog and disorientation of alt-techno he has made his own across four albums has Actress throwing himself headfirst into a heap of wires and making sure every choice earns their right to the tracklist.

Their demons finally overcome, Peggy Sue are now revelling in true resolute defiance.

Showing not only progression and honing of a craft, this record goes from a hulking shredding Goliath to a reflective funk record in the space of a few minutes with wonderfully engrossing results.

Those who found Whitney’s honey-coated tales of love, loss and yearning to be just a bit too smooth the first time around are likely only to strengthen their convictions. For those themselves yearning for another dose, this album should definitely satisfy.

Some of the fragile innocence may have been replaced by moments of casual philosophy and effortlessly grandiose anthemic pop (‘Zigzagging Toward The Light’, ‘Kick’), but Oberst can still throw out quietly stirring minor epics using little more than a guitar and quiet musings.

The production is crisp and varied; Roots' warm vocal typically hits with soul without being too forcefully firebrand and constant changes in style and tempo gives 4Everevolution the energy to see it through.

Often accused of being too calculating in his constructs, Mind Bokeh emerges as a spectral funk odyssey.

In carrying on from their debut and giving it a more personal feel, Folding Time tweaks into a malleable multi-purpose listen.

A charming, timely return.

‘Paradise State of Mind’ is a coming-of-age record, a band lyrically at the peak of the powers who will take you somewhere to ponder and dance in another dimension.

With one eye on America's rich musical history and one on the future of dance, if his formula needs to be tweaked, it is only by a little.

Recorded with Berlin-based chamber orchestra s t a r g a z e, their sound is simultaneously laid bare and enriched by its cinematic qualities.

'Legends Never Die' is poetic, prophetic and poignant.

Somewhat removed from the robust radio friendly pop of their first Hoffer collaboration The Life Pursuit, this latest record inhabits a more delicate sonic framework, reminiscent of early B & S.

This is a confident, bold and captivating record, and one which is dominated by that beguilingly ragged voice.

Carnage Hall is an album that bristles with clever ideas, memorable sing-a-longs, ‘Highlight’, ‘Drinking Problems Continue’ and ‘Accordion’, whilst reminding you of all the best bits from Devo, Trust Fund, The Rezillos and why you feel in love with those bands in the first place.

A brave and ultimately bold move, it’s hugely effective – direct yet sumptuously nuanced, ‘Dreamland’ is a triumph.

This is the closest we’re likely to get to a new Sonic Youth album, and The Best Day is a great reminder of what made that band so special.

The dirges are ditched, yet the previous elements they made their name with are overdone.

This collection’s predecessor, 2013’s ‘True Romance’, showcased an artist willing to take on the pop world. Sucker finds that same, singular performer rewriting the rules entirely, never mind breaking any, and beating pop at its own game.