They stick with what they know, and they have it down to a flawless science.

The resulting poignancy of his honest songwriting is an amazing accomplishment.

Getting this type of content from someone so guarded makes Mr. Morale more powerful and brave, especially given some of the topics he breaches. Kendrick Lamar lets it all out.

Sometimes, Forever is a rich and varied album, with ultramodern production that never tramples the influences at play.

Though the occasional use of spoken word on the record jars uncomfortably, this debut is about as accomplished as one could reasonably expect.

Simply put, cannabis is the medium through which this album should be listened to; otherwise, its greatness will never be revealed to the non-believers. ... When sober, 14 minutes for a song is a little long; stoned, it's not long enough.

The Weather Station is Lindeman's loosest, most confident album yet, but it may also prove to be her most deeply psychological; she doesn't hold back.

Sensual, artful and accessible, it is easily one of the best pop albums of the year.

De Vermis Mysteriis is a bloody, hard-fought triumph.

Collaboration clearly suits Destroyer well: after ten albums in close to two decades, the band still sound as vital and inventive as ever, and they're operating at the top of their game on Poison Season.

From Jagger's playful banter ("Everything alright in the critics' section?" he asks sardonically) to the band playing quite tightly around Charlie Watts, as he messes beautifully with time and space so that the Stones can transcend them both, the band innocently gave Toronto and the world something incredible to talk about for four decades and counting.

Pleasure presents a unique, uncompromising vision of intimacy and enjoyment.

Anyone who doesn't fall for Depression Cherry's hypnotic splendour probably just isn't a Beach House fan, or didn't live with the album long enough. But those who do will recognize this album as the sweeping, grand gesture they've been working up to giving us for the last nine years.

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.

This final track ["Aura Aura"] manages to rein in all the restless energy found throughout The Wink and transform it into a beautiful, warm sound that sends you on your way, all the better for experiencing it.

It is a transformative synthpop journey exploring how our worst moments shape us as individuals for when we are at our best.

If The Lost Boy was the new wave rapper's most substantial test of talent and longevity, YBN Cordae passed with flying colours.

Produced by Garm of Ulver, the textures of M are even more finely hewn and interwoven than its predecessor, resulting in a record that is at once profoundly tactile and deeply sensual.

With classically trained vocals, storytelling swagger and a knack for melodic invention, Lost & Found serves as both introduction and foundation. The debut offering is laden with contradictions: feels safe yet edgy, simple yet complex, ambitious yet relaxed.

Cohesive and well structured, Freddie is a clear standout for the season and quite possibly, the year. And Gibbs didn't have to rent out the Louvre to do it.

Yves Jarvis has brought his insides out on a spellbinding album that's equally puzzling and gratifying.

Necrocracy is as perfect as we're all hoping Carcass will be when they bring their good ship back for another gruesome go at it.

Soul of a Woman is a more than worthy farewell by one of the hardest working and talented women show business has ever known.

DIANA blend genres and provide a real sense of intimacy on Familiar Touch, a deeply personal and musically rich collection of songs.

Lush is unencumbered and honest, putting emotional pitfalls on full, nuanced display while remaining streamlined and filler-free.

Summertime '06's coming of age tale is complemented perfectly by production that finds the nuance in Staples' stories and matches it, couching Staples' rhymes in a way that the streets can understand best.

Clark has made the beautiful ugly, the ugly beautiful and the difference between them nearly indistinguishable. If that sounds pretty complex and incredible, you've got a pretty good idea what listening to St. Vincent is like.

Haliechuk and co. have developed a layered universe and score that creates a unique and immersive experience for those wise enough to carve out ninety minutes of their time to read along with the story as they listen. It's an album that requires listeners to invest their time and attention, but surely those listeners will be happy they did so.