These are my personal favourite albums from 2018, listed in chronological order from oldest to most recent. We've got hard rock, prog rock, stoner rock (a lot of rock to be honest), electronica, soul, hip-hop, as well as some folk. Each one is brilliant in its own way, so I hope you enjoy having a browse, and that you discover something new to add to your tune pool.

1. Conduit – Awooga

Released 20th April by Rockosmos

According to vocalist Tam Ali, Conduit refers to the flow of energy between brain and mind where both brutality and tranquillity reside. It sounds pretentious, but the band do comfortably create that space. Having toured with Amplifier and signed onto their label, you can tell they’ve drawn inspiration from their space rock approach with its numerous effects pedals and philosophical lyrics. Though Awooga don't follow their footsteps too closely, differentiating themselves by gravitating toward the heavier and more relentless end of the spectrum, adopting aspects of doom and sludge. The opening track Temporal sets the stage with titanic riffs and totalitarian undertones, addressing how nothing lasts, and yet history repeats itself 'over and over'. Each of us, and humanity at large, trapped in cycles of behaviour as time marches ever onward. Witness, my favourite track, displays a more subtle side as effortless jams gradually soar toward an uplifting crescendo before drifting back to earth. The eleven minute track is then underlined by the mystic closing number, Otherside. Rather than possessing a distinct narrative, Awooga generate a satisfyingly dense atmosphere to inhabit that is both thrilling and introspective.

2. The Sciences – Sleep

Released 20th April by Third Man Records

This release was a big event for fans of Sleep, the seminal stoner rock band, them having not released an album in fifteen years. There was also practically no warning before it was unleashed, though perhaps more should have seen it coming, it being released on 4/20. Unsurprisingly then, Sleep totally commit to their image here with the relentless comical marijuana references revealing their self-aware side masked beneath the unkempt doom. Every note has a distinct ponderous weight, conjuring images of the looming monoliths from 2001: a Space Odyssey. They can still kick things up a gear however, and due to their patient approach, it feels earned when they do. Their defining feature is volume, pure and simple. They push their amps to the limit with so much distortion it sounds like you're listening to far more than a humble three piece, and their gigs are known to make the air vibrate in your lungs, creating an experience of complete sensory immersion. The louder you listen then, the more you'll get out of it. On one occasion, when I got a carried away with my speakers at Uni, my unfortunate neighbours mistook the ominous rumblings for a real 'thunder storm', which in my mind more or less does Sleep justice.

3. Treasures from the Temple – Thievery Corporation

Released 20th April by ESL Music

This is now the third album on my list to have been released on the 20th April, so make of that what you will... Though I didn't discover it until much later in the year, having previously enjoyed an earlier Thievery release, The Cosmic Game (2005). Both albums are more easy listening than most entries on this list, The Cosmic Game being ideal for a relaxed evening, and reminding me of playing board games late into the night at Uni. Treasures is a bit different. More open, light, and energising, so I usually find myself listening to it in the morning. It favours more overt rap and soul tracks over pure electronica, and with the gentle enchanting flows of Water under the Bridge and Voyage Libre it has a cleansing, fresh-water feel. The numerous influences Thievery are known to incorporate are also here, including dub, acid jazz, and reggae, as well as Indian and Brazilian styles. They say this eclectic approach to their music is about returning to the roots of quality, culture, and community while embodying a future-forward mindset, and I think that comes across. I would go into their lyrics more, but half the tracks are in French, so I have zero clue what's going on in those. In any case, the end result is groovy and chill.

4. Melted on the Inch – Boss Keloid

Released 27th April by Holy Roar Records

Melted on the Inch is a captivating synthesis of prog, psych, doom and stoner rock that resonated with me strongly back in June. An empowering journey into a malleable realm of prismatic melodies and towering grooves that feels like the sonic equivalent of fighting through treacle. There's nothing subtle about Boss keloid, but there are plenty of layers to peel back. The lyrics usually seem to be driving at profound spiritual truths, attempting to recreate an experience of turbulent self-awakening by contrasting existential dread with an innate fragility. That being said, the band don't take themselves too seriously. When asked what Melted on the Inch actually means the band just said that they liked cheese on toast, which is fair enough. The album also has a Nordic vibe for me. The strange track names of Peykruve and Lokannok and the gruff bellows of Alex Hurst, not to mention the beards, all contribute to this. I've also wondered if the track Jromalih is referring to Yggdrasil, the vast tree of Norse cosmology that connects the nine worlds, with the lyric 'look behind the willow tree, you will see it all'. I didn't manage to see them live in 2018, but hopefully that'll change in 2019 as this is a masterful behemoth of provocative depth.

5. Civilisation – Southern Empire

Released 20th July by Giant Electric Pea

It's got a steampunk spaceship-zeppelin on the cover, what more do you want. That sounds silly spoken aloud, but it does perfectly convey the sense of fantastical adventure Southern Empire are going for in this symphonic progressive rock outing. Based in Australia and inspired by the likes of Steven Wilson and Karnivool, they blend progressive rock with symphonic metal to create a hard and edgy sound packed with catchy melodic hooks. Imagine mixing the progressive metal of Dream Theatre with the English orchestral prog of Big Big Train, then throwing in some of the melodrama of Nightwish for good measure. The result is an epic anthem of exploration laced with intertwining narratives of growth and doubt, perfect for a long walk. If I was to describe it in one word, 'ambitious' comes to mind, what with the keyboards, flutes, saxophones, violin and guitar solos, and everything else. It's a lot to take in, and it can feel overstuffed and self-indulgent at times: even in the world of prog rock few artists dare approach the 30 minute track mark, but The Crossroads clocks in at 29:15. Though if you can take them seriously, it's worth every minute as they navigate through it all with grace and grandeur.

6. TA1300 – Denzel Curry

Released 27th July by Loma Vista

It was a close call for this slot between Denzel Curry's TA1300 and Oxnard by Anderson Paak; a funk infused hip-hop album that pays homage to Paak's hometown in California. In the end I went with Mr Curry, a former 'SoundCloud rapper' and relative newcomer to hip-hop, largely because TA1300 is intriguingly dark and personal. The cover art captures the vibe, with Denzel menacingly leering toward the camera in smudged black and white face paint. The album is split into three sections: light, grey, and dark, each being released a few days apart. It does get heavier throughout, but there isn’t really much brightness to begin with. The opening track TABOO addresses how trauma complicates romantic connection, and the second track might bounce like a 90s rap hit, but those 'black balloons' represent Denzel's depressive feelings floating above his head. The catchy flows of CASH MANIAC and SIRENS take some edge off, with some welcome shots taken at Trump, but Denzel is at his strongest when juggling multiple personas, expressing the confusion and frustration of youth with fervent aggression. Having already carved out a name for himself by the age of 23, I look forward to seeing what this man cooks up next.

7. ASTROWORLD – Travis Scott

Released 3rd August by Cactus Jack

This is probably the most significant album of the year for me in terms of its impact on my music taste. Before 2018 I wasn't that keen on rap and it's sub-genres of hip-hop and trap, but ASTROWORLD changed that. So what's special about Travis Scott's third album? Named after a now abandoned theme park remembered from Scott's childhood, the whole release has a uniquely bizarre dreamlike intensity. The numerous cadence switches, disorientating production choices, and unnerving samples create a surreal experience that's appropriate for the mind-altering drugs often referenced. And yet the album remains grounded, anchored by its heavy trap flows and Scott's deeply personal lyrics, dealing with alienation, anxiety, and the experience of being catapulted to worldwide fame. The sheer amount of guests also adds great variety, with artists being used sparingly to hit specific emotional beats. In STOP TRYING TO BE GOD alone you've got Kid Cudi simply humming, Stevie Wonder on harmonica, and James Blake, who swoops in like an existential wraith to deliver melancholic closure. With numerous other guests including Drake and Frank Ocean, Scott acts as ringmaster for his own unhinged psychedelic circus.

8. Book of Bad Decisions – Clutch

Released 7th September by Weathermaker

For those who've read my Clutch article, it'll come as no surprise to see this on my list. Packed full of American history, explosive funk and weighty blues, it's undoubtedly the best hard rock album of 2018. To avoid repeating myself then, I thought I'd recount what it was like to see them live. Having spent hours listening to these songs, pouring over lyrics and obsessing over meanings, it all came together in what was a next-level gig experience. The bass levels were legendary, the lighting design reinforced the themes I'd unpacked, and the rhythm section was incredibly tight. The exception being a brief moment when lead guitar came in slightly too late. Many bands will restart a track when something like that happens, but Clutch don't need to do that. Tim Sult merely grinned and came straight back in without hesitation, demonstrating the smooth professionalism fans expect from the band. As for the fans, it was probably the most diverse concert audience I've ever seen. You had your metalheads, hipsters, bearded old-timers, a plethora of band shirts from Pink Floyd to Primus, and plenty of kids too. Having been around for decades, and continuing to experiment with numerous influences, Clutch continue to have wide appeal.

9. For Ever – Jungle

Released 14th September by XL Recordings

In the ninth slot, the hotly anticipated second album from English neo-soul group, Jungle. Everyone heard their hit single Busy Earnin' after their first album rocketed to success in 2014. Filling a niche in the musical landscape by updating a 70s style for a modern audience to create a rich, emotionally nuanced sound that's just effortlessly cool. For Ever continues in this vein with its smooth synths, airy vocals, and bouncy bass lines, the more upbeat tracks (Smile, Heavy California) being especially familiar and accessible. Happy Man in particular now reminds me of walking to and from the University library, regardless of the weather! In terms of its tone however, For Ever aims to create a very different atmosphere. One gets the impression that the sense of connection and friendship so confidently presented in the first album has drifted. Though surrounded by the trappings of happiness, the narrator often feels listless and incomplete. They try to rebuild and to find meaning, but repeatedly find themselves amidst uncertainty. At least that's what I think they're going for, but I don't want to give too much away as I'm planning to write an article comparing Jungle's two albums in more detail. Stay tuned!

10. Hide and Hair – The Trials of Cato

Released 9th November by Water Records

These guys unexpectedly appeared on my radar while walking through Cambridge, and I could tell straight away that they weren't your typical buskers. With their unique sound, precision, and performance confidence, they caught my attention at once. I've been following them ever since so was eagerly awaiting this album for some time, and am happy to say that I wasn't disappointed. The energetic multi-layered string instrumentals are delightful, with Difyrrwch and Kadisha being particular highlights for me. Though they are equally strong when they slow things down. My Love's in Germany, a hauntingly beautiful anti-War ballad, was in my head for days on end, and Gawain stands out in retelling an Arthurian tale with more methodical, almost prog rock guitar lines. This distinct style comes from mixing their own Celtic roots with Lebanese influences, having spent time in the country as English teachers. Perhaps unsurprisingly then the album is not without its politics, with some old-school socialism boldly, yet tastefully presented in Tom Paine's Bones and These are the things. For someone not too familiar with the genre the album felt incredibly fresh, and I look forward to listening to more folk like it in 2019.