He masterfully delivers a snapshot of a disjointed, vibrant and inherently flawed system as seen through one of electronic music's longstanding visionaries.

A record that prefers to build up intensity before letting it ebb away, doling out flashes of propulsive rhythm in snatches and grasps rather than in the four-on-the-floor anthemic grooves favoured by so many bands these days, Sleeping Operator feels out of time, apart, distinct.

On Nights in the Dark, California X are comfortable in their own skin and playing at the peak of their powers, but the album would have fared best as a pared down EP nonetheless.

It's a slow album, but through multiple listens, we're treated to the same complexities, but personal and musical, that have made him such a fascinating figure throughout the past decade.

Maine's ability to draw out peculiar emotions and thoughtfully pairing them with euphoric sounds in a deliberate way makes The House a natural and more than satisfying sequel to Pool.

Despite a greater variance in beat drops and textural flourishes (that way the drum machine fades into the post-chorus saxophone is the only redeemable thing about "Honey"), the middling mid-tempo The Life of a Showgirl strays even further from the magic Swift's pen once wielded.

The album is frustrating, with no middle ground, and the strengths don't quite make up for the weaknesses.

Though a touch disjointed, at times, The Search Engine is a trip.

These are supremely creative songs ― violently sexy, humorous and malformed extractions from some of experimental music's most delightfully twisted minds.

Much of it is too unremarkable for it to be anything but a decent starting point for Quarrell to build upon.

Although the quality of the album tends to range drastically, it does offer a few glimpses as to why his music is so strongly followed. In the end, though, Dwell winds up being somewhat lukewarm.

United by Madlib's crackly, jazzy samples, messy scratched hooks and bizarre sense of humour, Yessir Whatever is a gleeful trip down the rabbit hole of psychedelic rap.

Calico Review may leave the listener feeling a little parched, too, as it doesn't paint as bright and stirring a picture as either of its predecessors.

Forced Witness is perhaps too heavily grounded in the sounds of the decade [early '80s], to the point that a "heard it before" spectre hangs over the album.

Thomas Arsenault manages to convincingly combine his penchant for heart-on-your-sleeve lyricism and dance floor oriented-beats to craft an almost-perfect collection of nostalgia-tinged pop songs.

The diversity of Future Brown never once feels overwhelming, making the trip through these sounds from a futuristic dance floor satisfying throughout.

On News from Nowhere, Darkstar have completed their transformation from playing in an overexposed genre to being in an irresolute one.

The result is a sprawling, warm and idiosyncratic album that doesn't sound as much like collaboration as it probably could have.

These are original compositions with a modern polish, yet they stay very true to the styling of yesteryear.

Keaton Henson's evolution has been exciting to behold, and Kindly Now is another compelling release.

Most of Occupied with the Unspoken works like a well-executed indie film score: evocative, exigent and with purpose.

The whole fun of a new RHCP album is hearing the ways they grapple with their legacy and push the boundaries of their sound. In that sense, Dream Canteen offers just the right amount of old and new.

A deceptively lush record full of moments of striking beauty.

This Norah Jones is damaged, dangerous and vulnerable, and Burton's mastery of sound helps deepen the relationship between listener and song.

There's a hidden level of responsibility in his words, with Mill striking a balance between the glorification and the lamentation of his actions.

As with most DJ-Kicks comps, this one shows a different side to the group and is as much of an homage as it is a glimpse into the trio's future.

Volume X is a balanced record, potentially a future classic for those who are into that sort of thing.

It's the type of album that shifts with every listen, making you discover unknown corners of certain songs, with nary a lowlight or highlight in sight.

Lucky 7 is at its best when Statik Selektah delves deep into his jazzier side as a producer, as tracks like "Beautiful Life" and "All I Need" affirm.

Last Night on the Planet is a solid followup with enough variety to please listeners both on and off the dance floor.

While the self-examination he committed to tape this time around isn't quite as pointed as those of other figures in the genre this year, it's a worthwhile story to hear as we welcome Hodgy back to the mic.

A Blemish in the Great Light is endlessly listenable. Because it is so complex, so wrought, it loses an overarching feeling to hold it together, something that might help it read as a whole, as opposed to good songs that are very well done. It'll be a great album to drive to.

While the sonic textures remain in their typical buzzed out territory, the tracks where tempos ramp to harrowing speeds don't entirely work.

At its best, Adams' version of 1989 is an adoring homage to Swift's overlooked talent as a storyteller, though there are also a few key moments that fall flat without the high-gloss bombast that the originals were treated to.

Out Among the Stars is, at least contextually, a reminder that sometimes things got in Johnny Cash's way, but there are very few forces on Earth that could stifle his voice and conviction when he set his mind to getting a song across.

Stars Are Our Home is too much of a hodgepodge.

Sleepwalkers has some very good songs, but often comes off as cheesy and predictable--if a melody sounds familiar, it's probably because Fallon has sung one just like it before.

There are layers to Bleached that are yet to be uncovered. Whether it's worth waiting for is a question still left unanswered.

On their fifth release, Simian Mobile Disco's dedication to challenging their tried-and-true formula has found them coming off looser and more resourceful than ever.

At first listen, the album is scattered and slightly exhausting; it takes several attempts to make sense of everything you're hearing, and some listeners may run out of the patience required to dissect it all. Those with a longer attention span, though, will find SYRE a very promising debut that offers new delight with every play.

The album is a full hour long, and though most of the songs are captivating, a few tend to drag.

On Majid Jordan, it's clear the Toronto pair have refined their sound, with subtle but meaningful touches that make for a stunning, cohesive work of art.

This is feel-good music. On Home Wrecking Years, Canning has developed a sound that is genuine, heartfelt and liberating.

Difficult to dislike. The knowing wink may feel a bit strained as the crow's feet deepen, but it will coax your face into a smile more often than not.

Sharp laments the weakening of expression though technology, which is fitting, as this applies to the album. Where there were once fireworks, the Rentals still deliver a bit of a lazer show.

Annabel Dream Reader feels like the soundtrack to a Tarantino film.

There are at least two too many instrumentals, and songs that stand apart on their own start to bleed together near then end. But the ambition and execution can't be denied. This is the 1975 operating at the peak of their powers.

Michael may very well contain the best material Bundick has released throughout his already stellar career.

This is Of Montreal's 15th LP (to say nothing of their many EPs and compilations), and it's neither their most sonically confrontational work, nor their most viscerally emotional. It's pleasant and poppy, but if you don't get around to listening, no sweat.

There's undeniably something missing here.

The focused California Nights nevertheless cements Best Coast as one of the few bands capable of straddling the line between intimacy and mass appeal.

It's not game changing, but Saigon's fanbase will love it, and sometimes it's better to stick with what you know.

The only real drawback is that the album lacks the intrigue surrounding something as adventurous as their previous album. Daemon still has a lot to sink your teeth into, and fans of black metal and Mayhem should not miss out on it.

Everything about the album is deliberately simple, but with some inspired production choices added to the mix.

If J. Dilla has been Detroit hip-hop's most influential recent figure, then DJ HouseShoes is the stern, no-frills custodian of that legacy, known to regulate violators and opportunists circling the music James Yancey created.

Donna is eclectic, moving, emotive and true to Cassy's roots. Her vocals, which dominate the album, recall the same soulful edge of singer-songwriter Sade. The real triumph here, though, is the sense of creative freedom that pervades the album.

While PND's production is typically on point, his songwriting and vocal skills are still evolving.

Dark Sacred Night is a non-traditional Christmas album, but one of great import nonetheless. It makes a perfect companion for those of us whose Christmas experience is absent of the typical festivities and jubilation.

Heavily inspired by collaborations with Antwerp's Baroque Orchestration X (B.O.X.) and other likeminded artists at the 2018 Berlin PEOPLE Festival, Altid Sammen is a sonic exploration of unique instrumentation that adds to the rich tapestry of Efterklang's canon.

Grandiose in its bite, depth and soul, Champion lives up to its name.

While working on the album, the band reportedly tried to blur the lines--primarily through scattershot vocals--to make it hard to discern who wrote what. In the process, they've lost the collaborative, intersectional sound that's always provided a sense of humanity heart at the centre of Animal Collective.

Despite suffering from flatness, the album is an enjoyable enough romp and in its almost naïve purity, it is endearing.

The result is a fine summer pop record that encourages listeners to approach as they will.

Their fourth and decidedly most accessible release to date.

The confident strut and orchestral accents of "Poisonous Shadows" are somewhat cheapened by ill-advised whispered backing vocals, and the songwriting bottoms out in a handful of places. Still, it's miles ahead of their rather forgettable last album, and there's still enough here for fans to celebrate Megadeth getting back on track and starting a new chapter in the band's storied career.

Unpatterns straight-up works.

Musically, Guilt Mirrors is all over the map in the best possible way.

It moves Krell closer to the mainstream without sacrificing the emotional complexity of his music, proving that Krell is a musical force not to be underestimated.

Although Tycho and company seemingly recycle a few ideas on Awake, it's a rewarding, mood-inducing listen that's best digested whole.

Swapping out the distressed warning signal that slides in midway through with shrill synths that run the rest of the song, the adaptations across Woman Worldwide offer a live experience without the cost of admission, and a well-crafted look at some of Justice's best.

This group of songs are vivid in colour, creating a warmth, unlike their contemporaries who cling to the depressing melodrama of these decades. By keeping it light, listeners will might find a second listen through all the more appealing.

At its best, the album retreads familiar ground.

[The guitars are] the most interesting thing about Broken Water and when they aren't around things plod along uneventfully.

With the skilful assistance of his longtime comrades the Dukes and able production from R.S. Field (Webb Wilder, Buddy Guy, John Mayall), he concentrates on the genre here, with impressive results.

Labyrinth is a site for self discovery: a place to get lost in and emerge with a new understanding of yourself.

In some ways, it works; the songs on Mind of Mine certainly skew towards more mature content and a sleeker, less bubblegum-y pop sound that's implemented expertly by producer Malay on silky smooth PBR&B-lite ballads like "It's You." It works less well on cuts like Kehlani collaboration "Wrong," which is gratingly heavy-handed with the Auto Tune--a problem that again rears its whiny head on "Fool for You."

With the majority of the tracks being in-and-around the two minute mark, Sage The Gemini presses the gas pedal too quickly before capturing your attention lyrically or sonically.

The production is top notch, Tip is rapping tighter than ever, and clearly knows who and what to work with, but the rare glimmers of originality and risk only further exposes the safeness of this Pharrell-tweaked new T.I. album.

Overall, Uncovered stands up as much as you could want a cover album to; Colvin puts her own folk spin on things and keeps that sound strong throughout.

A Wonderful Beast stands as a frustrating listen; a demonstration of what Calvin Johnson can do when he's motivated and what he can do when he's just fucking around.

Once you get through "The End" (which is actually near the beginning)--with a barrage of cymbals care of Brian Blade--Flesh And Machine is a relatively subdued affair.

Ricky Music shows a different side to Porches as an artist that we haven't seen before; it may be more produced and heavily Auto-Tuned, which takes away from his strong vocals, but it's refreshing to hear a new side to Porches.

Mark Kozelek is a skeletal record, composed almost exclusively with guitar loops and vocals tracks, designed to serve as a vehicle for his diary-like lyrics. Some may argue that Kozelek aims for quantity over quality, while others wait attentively for his next correspondence.

Here they are with the emotionally eloquent Spin, rejuvenated and sounding just as good as a duo as they ever did as a quintet.

There's nothing super memorable about this record, nor is there anything horribly offensive about it either. Ultimately, ACR Loco doesn't match A Certain Ratio's past glories, but it doesn't erase their legacy either.

On Crooked Doors, the music is given ample space to breath, giving it a progressive edge. All told, it's a huge leap forward for Royal Thunder.

On A Lesson Unlearnt, the insights on love are articulated both from the position of the one being sought and the one seeking affection, offering an entry point for anyone who can identify with love's effects.

Opting to work with four different producers led the band to a wide variety of sounds on Morning Report, and while that will be a sticking point for some listeners, the record shows they're far from content in solely making plays towards accessibility.

High Plains perfectly capture the rugged and sprawling Midwest, but more impressively, an intangible mood and state of mind. A record like this is a rare achievement.

The added lyrical depth takes Optimal Lifestyles from just another party record to a genuine reflection on living life one six-pack at a time.

It's not a complete return to form, but it's a reminder that even later in the journeys, all-time greats' talent and dedication to their craft can still yield impressive results.

The track list moves like grief itself, with a glimmer of hope before plunging back into darkness and hurt. But, as Green does so well, each track is buoyed by his smooth voice, full of emotion, and poetic lyrics that can somehow perfectly capture every sentiment.

Untogether does manage to lose its grip on your attention, at times, falling back on a bit of redundancy, but when it takes hold, it grabs you by the ears and fills them with a wistfulness that haunts you for days.

Much of Waltzed in From the Rumbling's success lies in Plants and Animals' ability to look both inside and outside of their musical sphere, incorporating strings, choir vocals and found sounds while possessing the insight and musical acuity to make it all feel organic.

The risk of keeping things breezy is that tracks can often lack weight.

"Black Health," "Sober-delic," "Edgar the Elephant" and "Cardboa Negro" are the most compelling tracks, showcasing a midtempo churn where McDonald's rock'n'roll pedigree really shines. ... Despite the presence of these successes, Death still sounds like a band treading water.

The 18-song offering is a cohesive masterpiece.

Woman is confident and captivating, and like their debut before it, demands attention.