It's predictably brilliant; another display of Dear's dazzling musical imagination.

Oxymoron is all killer, no filler--and despite some tracks here not quite translating to radio, in the album context nothing feels out of place.

Even after several listens there's little here to really strike a chord with the long-standing Foos fan. That's not to say it's poor - it's far from that.

The travelling folk shows of Michel Cleis and Die Vögel, healing dancefloors and faiths while handing out daisy chains, head the electronic curiosities helping join the dots of a compilation that poses as much might as it does magic.

This is the sound of a questing spirit pushing at the parameters of unlimited freedom, a hand reaching out to grasp infinity and not falling far short.

Opener ‘Shock Out’ illustrates a playful approach that floats on the periphery of danger while ‘Slay’ sees her really flex her lyricism complete with a wavy flow. As is to be expected, The Bug’s production floats in the oxymoronic universe of heavy and atmospheric that is both haunting and devastating.

‘KOMPROMAT’ is an album that cements I LIKE TRAINS once more not only as a force to be reckoned with but as a band who are able to deliver a delicate critique on society.

The future, past and present is Enter Shikari’s, restructuring the sheer meaning of creativity with another commanding album.

It’s sci-fi, afro, poetry delivered with a snarl. This may not be for everyone, hell, it may only be for the brave, but if you take the ride you’ll be vastly rewarded.

It's All Real continues along the same lines: lush production, low-key bleeps and bloops, a hushed, lovelorn 2am ambience.

The music is engaging, yet thought provoking. It sounds unlike his previous three releases, but there is a continuation of ideas throughout. It’s an album from an artist who doesn’t pander to trends and goes his own path.

While every track on The Haunted Man is brimming with invention, there's little to keep you coming back for repeat listens.

While some moments may be a little theatrical, the astounding musicianship and production pulls it back, from the thick woodiness of clarinet and raucous cupped trumpet to the unbelievable percussion and strings.

This is a timeless collection of blossoming ballads.

A four-track EP that runs for the best part of 25 minutes and possesses more depth, more intrigue, than most full-lengths running to twice as long.

This an album that proves Kaytranada’s production skills to be limitless.

Wanting more of something is hardly the worst criticism to be leveled at an album. With this long-awaited release, Santigold has once more shown the world she’s one of the game’s most unique, imaginative, and fun creators. It’s good to have her back.

United States Of Horror is wired on a different kind of anger--these tracks seethe with violence and disgust, raging at dark political orders, economic inequality, racial tension and fractured society.

There's no reaching out to new audiences here nor attempts to break ground, just an accessible expression by an artist with the freedom to do just that.

A project as mystifying at it is engaging.

Beach Slang play with the kind of heartfelt abandon that you could imagine translating to wider audiences in a similar vein to The Gaslight Anthem or, going back even further, The Goo Goo Dolls. For now, the no-hopers have a voice, but you get the feeling that it won't be theirs alone for much longer.

While this may not be as perfectly realised as "Black City," it's still a beautiful, complex, weird and bold album.

A fine album that balances its expansive and experimental edge with rich, emotional musicality.

There’s a profusion of standout tracks that invite you into Teyana’s world of emotions, sex and vulnerability. ... This a grown woman ready to continue her reign over R&B.

An album that could be the soundtrack to the most fucked-up cowboy movie yet to be made.

It’s a multi-faceted and mature second album from an artist that a lot of people wrongly assumed could only work in one narrow lane.

A brave and open experience, it stands as one of Gold Panda’s most riveting statements, amplifying his technical virtuosity while also honing in on the glorious melodic jewels that allow his work to linger so strongly in the imagination.

An inspired listen, it stands as a wonderful achievement not only in jazz, but in African-American improvisatory arts more generally.