In a world that coerces you to doomspell yourself to bed-ridden misery, I’d like to manifest some positive thinking here: Who Let The Dogs Out has all the ingredients to break that aforementioned loop and move the needle further – with each track managing an infectious balancing act between cheeky humor and righteous rage.

With any luck, Wakin On A Pretty Daze will go down as a document to the workman he really is.

World’s Gone Wrong extends Williams’ fertile run, infused with the aesthetic adventurousness and undiluted honesty that have characterized her work for over four decades.

Overall, Asphalt Meadows is a fine record from a band so deep into their career they really have nothing left to prove — except, it seems, to themselves.

It never quite reaches the potential of a fully-formed imaginary future world, as Future Sounds of London managed so effortlessly decades ago. It’s a cool and exciting album, but it doesn’t dream of electric sheep.

Though it may seem like Vile tends to waver on just how he wants to be perceived, the lack of commitment is nothing if not intensely deliberate.

As the record unravels those far-reaching human touches, supported by the more grounded electronic elements, become the emotional sticking point with a surprising amount of staying power.

Despite the incredible detail built into the songs on All The Time, the productions still feel spacious and lightweight – a futuristic version of the pop-R&B hybrid we already know. This allows the tracks to be engrossing in their layering, but still leave plenty of space for Lanza’s lyrical expression to come through clearly. And it’s shocking how deeply personal and painful a lot of it is for Lanza.

They’ve released what is arguably their definitive record, they wouldn’t have any obligation to release anything else.

With The Film, SUMAC and Moor Mother have taken an unprecedented approach, reexamining Afrofuturism through a deliciously dissonant and catastrophic lens, resulting in one of the year’s most essential listens.

On one hand, Muddy Time is clearly a love letter to Doyle’s beloved predecessors, most readily perhaps Robert Wyatt’s Rock Bottom as well as Eno’s earlier vocal flirtations. But it’s also perhaps the most complete vision of Doyle’s works yet.

Aerial East is a talented songwriter with a signature voice, and Try Harder certainly includes its stellar moments. However, the project as a whole would have benefited from more melodic, tonal, and atmospheric variation, issues which could in part have been addressed via a greater use of recording options and a more hands-on production approach.

For an outsider, it is best approached without expectations, as Ambarchi has no intention to conform to them. Long-time followers of his work, however, will find the label of ‘workout’ very appropriate, as he flexes the creative muscles which have allowed him to create so many long-winded symphonies in the past.

The band’s deepest, and strongest, album to-date.

Spencer Cullum’s Coin Collection 3, is not only uniform in its musical and recording concept, but in exceedingly strong and varied songwriting that establishes Cullum not only as a sought-after session man, but also as an exceptional solo artist.

These are warm, lived-in songs, the sort that feel instantly classic, becoming canon without ever feeling like they’re trying all that hard to.

PLUS is a more flagrantly weird collection of odds and ends, but perhaps a better microcosm of the flagrantly weird band that is Autechre.

Less sleepy than Penny Sparkle but also less vibrant and consistent than 23, it’s the work of a band that took a breather, and came back reassured in who they are. They’re inviting us back in — to their table, no less — and proving that they still deserve our company, and we still ought to seek theirs.

It’s not the greatest moment of Tudzin’s career – that moment is still to come. But, even at just 23 minutes, Free I.H is certainly her grandest statement to date.

The album’s strength is in its sheer breadth, its teleological scope, its grandeur without pretence.

While some may miss the utter, blistering, angular noise-scapes of past Autechre albums, be assured that this album is no less Autechre. Despite being, arguably, their most accessible album in over a decade, we are still left with a set of 10 tracks that are just as unpredictable and labyrinthine as ever, and a duo who is trying to work in a slightly different avenue.

A work of tightly-focused determination.

This kaleidoscopic vista is the album’s ultimate strength, arguing that all these sonic formations can be united within one band. Just as we, as individuals, include multitudes, so do Model/Actriz. In a world that is uniquely broken, they persist unwaveringly.

There’s a confidence exhibited here that’s refreshing.

God Don’t Make Mistakes is a complete body of work, Conway’s best to date, and one of the best rap albums to come out in 2022.

Tramp is simply her most fully-realized album yet, and that's all there is to it.

We're treated with music that demonstrates a perfect niche between pop-accessibility and zany experimentation.

Rhinestones might not make it on most publications’ year end lists, but it is the sort of record that will be cherished and rediscovered by those who need it for many years. It’s the kind of music that, when you meet somebody for the first time and they share their appreciation for it, could signify a kindred soul.