Brutalism finds Pierce at his most confident, musically, but his most vulnerable, personally. He's able to explore new sounds without worrying about expectations, and open up about emotions that he's never touched on in his music before.

Sure, some of the dark and downtempo beats can begin to sound same-y by the time you're through. And Offset certainly hasn't attained the lyrical brilliance of JAY-Z on 4:44, or any of the other elder rapper's releases for that matter. Nevertheless, Offset's level of growth and candour on Father of 4 is that of an MC making leaps and bounds, both in his music and his personal life.

It's an elusive and subjective notion, but it's impossible to listen to this rich, remarkable album and not be left thinking that this is the sound of Ellis coming into his own.

Legend is content to adopt a croonerific sound that doesn't challenge existing soul genre parameters in the least. That's fine, in theory, but rather yawn-worthy in execution.

There's enough here to suggest a breakthrough is coming, but Axxa/Abraxas isn't it.

In the future, Ghost should do more of that heavy lifting, taking a cue from producer Adrian Younge, who provides his signature analogue flavour to sumptuous effect throughout.

If one were to quibble, Taste is maybe a couple of tracks too long, and could possibly use a bit more of the sincerity and heartfelt emotion on display on Islands' underrated 2012 gem A Sleep & A Forgetting. Regardless, this is another solid record from a prolific talent.

It's a confident and proper return, written squarely from Gonzalez's comfort zone with a few fun twists from its undersung predecessor; It's exactly what we needed from M83 right now, even if it's sometimes a little too extra.

While founders Jonathan Russell and Josiah Johnson do seem to come from the Simon & Garfunkel school of songcraft, an appreciation of California pop also comes out.

God of the Serengeti should impress fans and may even bring back some of those who miss the Psycho-Social days.

Producer Nigel Godrich, no stranger to helping soundtrack world-weary malaise, keeps Waters in comfortable territory with pianos, string arrangements and acoustic guitars, along with a few unmistakably Floyd-ian arrangements.

Baby Grand is a wide-screen, psych-pop gem that continues to realize his potential in rewarding ways.

King's Disease is a record that's occasionally swollen with too many ideas, backed up by lazy rhymes and unsavoury politics. Thankfully, with impeccable production overseen by executive producer Hit-Boy and bolstered by a slew of excellent guest features, Nas overcomes these pain points to pull together his most satisfying project in close to a decade.

The seven songs that make up The Times are stark and haunting.

Johnson has made great creative leaps with every new album he makes, but with Back to Land, he seems to have finally backed himself into a corner.

Planetarium does the solar system justice with almost every conceivable sound--from metallic auto-tune to rippling organ, to angelic strings and forceful horns--from four powerful multi-instrumentalists at the top of their respective games.

It's unfortunate that Vicious Lies has come out after everyone has finished compiling their year-end lists, but it's already a contender for best record of 2013.

Saturday Night is a confident debut from a creator who's best when he seems uncomfortable. So long as he keeps evading his comfort zone, Darcy's songwriting should remain potent for years to come.

On the whole, via his work and commentary, Iggy Pop has pushed our world to think and act differently, and he brings that same mission of liberation to himself on Free.

Relationships with women are at the forefront of Tha Carter V, including a desperate cry for help from his mother on "I Love You Dwayne," which leads into the sorrowful "Don't Cry," featuring a chorus from the late XXXTENTACION. ... Despite the revelations, the album is not without its expected bangers.

Tall Tall Shadow (the long-awaited follow-up to 2010's Heart of My Own) sees Bulat lifting her voice once again--high above the fussy introduction of electronic elements--to a place where joy and despair mingle in heady measures.

They've returned with a refocused sound closer to '70s singer-songwriter fare from Carole King and Fleetwood Mac, a sound that supports Moore's thoughtful lyrics.

I can assure you that you will not stand still while listening to this album.

It's a feat of musical arrangement and of lyricism, sure, but in essence, it's the songwriting on MCIII that really makes it such an achievement.

An even stronger effort, one that avoids the sometimes-frantic pace that marred that earlier album a little.

In contrast to comrade Rocky's music, Trap Lord succeeds largely despite its production, fuelled by Ferg's oddball enthusiasm and sincerity.

Alone for the First Time is a pretty solid sophomore album, but it falls shy of Guilt Trips' coming-of-age charm.

When Anything But Words ups the pace, it proves to be one of the finest records of the year.