Editors have always demonstrated a passion for slick New Wave synth-rock, albeit a little dreamier and a little darker than the type that dominated the airwaves in the ‘80s. And Violence is no different. But contrary to what the gloomy song titles suggest, the band’s sixth record is actually a kinder and gentler Editors album, musically speaking.

It has been some 14 or so years since we last heard from David Byrne on a fully realized solo project. 2004’s Grown Backwards saw the now 65-year-old former Talking Heads frontman caught in between staying true to his immensely quirky and individualistic past and the pressures of adapting that to a new audience which, for the first time may have been blissfully unaware of his past.

A sophomore album of exploration, fusion, and unity, George FitzGerald’s All That Must Be is one of the surprises of the year to date. A beautifully balanced harmony of the influences that he has tapped into in Berlin (his home for the last decade or so) and his newfound home environment of London come together to produce a series of club-worthy tracks that you can enjoy just as much when not intoxicated and sweaty at three o’clock in the morning.

Of all of the subjects in modern day society to write an album about, the political discourse of the last 18 months has been one of the most fruitful. Artists on both sides of the political aisle—mostly on the left, but some on the right as well—have had pieces to say about the increasing popularity of right wing politics in the western world since 2016.

Montréal four-piece Suuns have always felt like some sort of alien oddity. They’re not quite indie or post-punk, but not fully electronic either, rather wiggling into a room that allows their space-indebted ideas to drift off into the ether.

Young Fathers do not tend to mention politics explicitly on Cocoa Sugar but the weight of three years of political turmoil since their last album looms large over this new record. Like Kendrick Lamar’s DAMN., it captures the anger and frustration of the current moment without directly addressing the cause. Instead, it lets its ingenious mix of soul, Krautrock, and hip-hop speak for itself.

Rare Birds certainly has one of the more apt names for new releases that you will see in 2018. These are songs that are structured in something that you would consider a conventional manner, featuring artists that you would assume would be in Jonathan Wilson‘s orbit—Lana Del Rey appears the perfect female counterpart, Father John Misty the label-mate superstar—and yet, there is something off, something that prevents it from being the experience that you want it to be.

Camp Cope’s second album, How to Socialise & Make Friends, is a sweeping, emotional rollercoaster. The Melbourne trio’s storytelling continues to be stunning and humbled, lead-singer Georgia McDonald’s anxiety so blatant and palpable it’s hard to differentiate their lyrics from diary entries.

You can say what you like about Andrew W.K., but he occupies a unique place in the pantheon of rock and roll. If you’re looking for a motivational speaker who specializes in upscale, gonzo rock, then Mr. Wilkes-Krier is most definitely your man.