FIDLAR have expanded their sonic palette on a record that seems destined to be appreciated more with time.

The album's ten dirty bass, hydraulically placed rhythms come off like a more focused, implicit version of the Minnesota-born laptopper's previous work.

There are a few shining spots, some merely okay ones and an overall sense that K'Naan is savvy enough to play things on the safer side for now.

To The Recently Found Innocent explores welcome new directions; rather than messing with a good formula, Presley has opened up to new ways of approaching it.

The strongest moments on IX, like on any of the band's albums, are those that manage to create a vast rock sound by building elements up to impressive climaxes before bringing them crashing down.

Regardless of your level of faith or denomination, the 19-track album is accessible enough from a craft and sanctified standpoint. Whether it's for interpolations of Kanye tracks like "Fade," with "Follow Me – Faith" — itself a gospelized riff off the classic house track by Aly-Us — or for a new take on "Ultralight Beam," off 2016's The Life of Pablo, there's a lot here to vibe off of.

It’s contagious; every song sounds like a party

Hypnophobia is a beautiful, and sometimes tragic, look into the mind of a talented and tortured artist.

Summer 08 may not have been designed to build on the success of Love Letters and The English Riviera, but it still very well may; it's every bit as resourceful, offbeat and pleasing as anything Mount has done to date.

Given how commanding Powerhouse comes off thematically, there are unfortunately moments that simply don't work musically. ... But for its few flaws, Powerhouse is nonetheless rewarding, as Rostron has never sounded so raw and inventive, leaving listeners with the imperfect must-hear album of 2018.

More polished than 2012's Zeros, Deeper is fuller, fatter and puts more emphasis on its futuristic electronic elements than its nostalgic ones.

The production values mean that, even though Powers' reverent anthems aren't a huge departure from what he's done in the past, the results have added gravitas.

Oyamada's work as Cornelius over the past 20 years has defied genre, logic and time; on Mellow Waves, it sounds like he's on cruise control.

Coco Hames is a skilful debut that explores the softer angles that the Ettes' last effort hinted at, trading in the spark-plug energy of Hames' former band for a more reflective flavour of songwriting. Luckily, her talent and enthusiasm for her craft are as strong as ever.

GØGGS is great, but if this band plans on growing and not just putting out another "let's bring back '80s punk, shall we?" record (not that there's anything wrong with that), they'll have to get a little weirder and wilder on their next release.

It's clear that Jonathan Wilson's naked ambition has reached a zenith, for better and for worse, with Rare Birds.

While Buckner's songs can be awe-inspiring (just ask Bon Iver's Justin Vernon), Surrounded, like its most recent predecessors, requires closer attention in order to fully appreciate.

On As If, !!! show that they've still got ideas, leaving listeners with one of the most enjoyable, if schizophrenic, dance albums of the year.

Tividad's sun-kissed vocals, on top of the slow, dreamy instrumentals all over What Chaos Is Imaginary, makes the record feel cinematic. The drone-like voice complementing the vibration of heavy buzzing bass will make you slip in and out of reality.

Los Campesinos!' brief hiatus has resulted in one of their strongest releases to date; Sick Scenes is an eloquent testament to the triumphs and trials of adulthood.

A well-rounded and buoyant album, Down in Heaven is Twin Peaks' most mature work to date and a satisfying listen, even if it lacks some of the urgency that made their past work so thrilling.

Despite its heavy subject matter, Rispah remains an eminently listenable release; it's proof of that somewhat clichéd adage that pain fuels great art.

While it would be easy to lose oneself behind a wall of genre tropes in a project like this, Smith's easy breezy, man-out-of-time persona stays front and centre on each of these 15 tracks.

The connection between Hatfield and Caws makes Get There a great pop album that will appeal to more than just fans of both participants.

As tracks like the bombastic slow jam "Ascension" and the Drive soundtrack cast-off "Disclosure" add a bit of auditory depth to the album, much of Chiaroscuro runs at a dreary autopilot pace.

The problem is that Earle's melancholy has taken primacy over his songwriting, which is uncharacteristically generic here, making this subdued and plodding release a career low.

An album that leads the listener through a grim landscape punctuated with urgency and violence.

As a debut, it perfectly captures the band's personality and sound: captivating, incomparable and deliciously unique.