It’s an as surprising and unpredictable, yet unquestionably enjoyable 40 minutes of music.

Over the course of these five tracks, the assembled musicians bring their own roots music to the mix, and end up with something that is slightly different to anything they have done before.

So Deep Fantasy works as ten lithe, wiry punk ragers, ten howls into our personal nothingness. It works very well as that. But it's more.

Despite the album adopting a confessional structure, the characteristic elements of The Soft Moon’s aggression remains. And it all sounds dirtier, gritter and angrier than ever.

Useless Coordinates is not perfect, and there are some flat moments, such as ‘Unwound’ which is very artrock-by-numbers, but overall this is an album which kicks arse and promises much for the future from a band clearly enamoured with the idea of challenging themselves and their audience.

Leaving themselves with no room for filler, the band set out to deliver on the promise of their singles, and we're thrilled to report that they've succeeded. Stardom beckons.

The Julie Ruin have moved closer to the show tunes influenced half of punk, and further from the grunge influenced half. In its honest mapping of the experiences of being a women involved in music scenes though, it is consistent with the very best of their previous work.

It builds upon the psych-folk elements of Dan Reeves' first project, but delivers them in a way that leaves you at the mercy of their power.

Man It Feels Like Space Again is an astonishing confident record. Even though the textural palettes are familiar, especially to those who have been lapping up the psychedelic soup of Tame Impala, Pond and their Perth based contemporaries, the songwriting craftsmanship and vibe of every track varies from the last.

As far as debuts go, Boxed In practically oozes potential. Bayston is a master craftsman, and Boxed In is dangerously close to harnessing his full potential.

Clocking in at just over twelve minutes, Sunne is a jarringly short EP in a genre that has always been characterised by these expansive and immersive albums.

Blank Realm have offered up another album that refuses to reveal itself right away, and instead, it gradually lures you in and rewards you with previously overlooked gems with each listen.

Riot Boi is an immensely listenable, often thrilling record, and on the first few spins you're more likely to be seduced by the beats, before digging into the lyrical content.

Wells has described Promise as the kind of album that requires patience and time from the listener. But considering how captivating and compelling the music can be, the time is well spent in the end.

While it isn't a far cry from Real Friend's first album, it still delivers an emotional punch with a hopeful glimpse of what's to come.

This album scales back significantly from the relative bombast of the grand Poison Season in favor of a more intimate, simple setting. Stranding himself nearly alone--aside from longtime collaborator Josh Wells--Bejar hunkered down to record the simultaneously unconcerned and emotional splash that is ken.

A Humdrum Star is largely successful and in a perfect world will be just one of a great many formal experiments for the band.

Fitting snugly right alongside the likes of Vashti Bunyan and Julie Byrne, Bare is of the class that just may stick with you for a lifetime.

Sonically, this is the most Drake Drake's ever been, with the signature sound he's been dancing around ever since 2009's So Far Gone (released exactly 6 years prior) finally being cemented in wall-to-wall.

Deep In The Iris is full-bodied and assertive, while their lyrics address both the personal and the cultural.

Despite its otherwise grim title, it plumbs emotional depths even further and creates a more vivid and exciting picture of what Clark is capable of this late in his career, and why all of the hype surrounding him from the beginning was more than credible.

An auspicious debut for Trevor’s career, Andy Warhol’s Dream’s only faux-pas is that it probably set the bar too high: it’s an incredibly solid, balanced, and overall beautiful album. I can’t wait to see him perform it live.

Helen have turned out an otherwise pleasing debut, and it's nice to hear Harris pushing her otherwise ghostly music into lusher and sunnier places, but it doesn't prevent The Original Faces from feeling a little underdeveloped and like a missed opportunity by the band to take the kind of music they are making in more interesting directions.

It would be unfair and disingenuous to Mew to say that each song follows a template, but the band have become so proficient at producing affirming, soaring pop-rock music that it's easy to forget just how much is going on in each track.

Carpenter here brings together the themes from 13 of his movies to remind us exactly how pervasive is his influence on modern culture.

It’s clear that with Venus in Leo, HTRK have taken a step higher, using desolation to their advantage. With an eye for detail and fondness for obsessive downward spirals, they have made their first album in five years comfortably fitting of their sensual and aching mystiques.

With Clean, Allison has delivered one of early 2018’s easiest albums to simply enjoy. If you’ve been a human being for all of your life, you will recognise very well the experiences related throughout its fleeting 35 minutes.

It's an introspective, at times hesitant collection yet in the way most introverts allow themselves to relax within company, the more time you invest in The Colour In Anything the more readily you will discover its qualities.