All That Glue is a great compilation, and one that should please fans and newcomers alike with enough unreleased or B-side material to fill a full-length and enough strong picks from the band's past to give new fans a perspective on what to check out next.

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

Isaiah Rashad has returned as sharp as ever, delivering an album that houses some of the best material that he's ever released. The album never lulls over its 16-track runtime; instead, it finds an artist who's taken his time away from the spotlight back in a good space, building upon an already strong foundation to result in with the most complete project he's released.

Wuthering Heights expertly plays with the joys and violence of love, always leaving space for the nuances of both. As the sun finally rises at its finish, it's clear that this album is ultimately an optimistic love story, even if it's a Gothic horror set within Bluebeard's castle.

When We All Fall Asleep, Where Do We Go? is a debut record that showcases a bold artistic vision and a willingness to move beyond the boundaries of pop conventions.

Utopia feels like both a journey and a collection of statements that define and affirm who Björk is.

They haven't lost the heart of their sound, only shown it in a new light. If last year's Cruel Country was a nod to their country roots, then Cousin is a departure from those origins in favour of new sonic shores.

Never Hungover Again is fully-grown and moves at a steady pace, while remaining characteristic to Joyce Manor's roots.

With the world coming apart at the seams, Janet Weiss and Sam Coomes have never sounded more together, more single-minded and strong-willed. They made an album that needed to be made. Quasi went all-in on Breaking the Balls of History, and it lives up to its absolutely killer title.

[An] explosive and emotional debut.

Existing in layers, The Electric Lady revels in its polarity. The overriding statement, however, is that Janelle Monae has arrived.

On Life, Dan Friel's beats and rhythms come off less stingy and cloaked, allowing the noise to finally meet the listener (almost) halfway.

The result is a listening experience that demonstrates a capacity for intimacy, but more often acts as an intermission or interruption to an otherwise steady pace.

By immersing himself even deeper into the world of dub music and its equally minimalist and maximalist tones and tropes, Grim Reaper sounds stronger than anything he's accomplished so far.

With her sharp pen and a deft balance of traditional and modern sounds, Middle of Nowhere is a reminder of why Musgraves is a lone star of her calibre.

The songs on Cutouts feel jammy and jazzy, and while the trio are of course experts at their craft, the instrumentation tends to meander.

Along with his own cuts, Dear works dialled-in dance floor weapons from Randomer, Matrixxman, Simian Mobile Disco and Thatmanmonkzn into this heady, satisfying mix.

Beyond the gooey saunters she’s become known for, she slows the tempo to near-standstills on multiple occasions, while likewise finding the most heart-racing BPMs of her career thus far. By virtue of this being a Faye Webster record, none of it feels jarring; it’s as intuitive as passing the time with someone you love.

Though it lacks the alien opalescence of Charli's best record, how i'm feeling now contains a different sort of thrilling delirium. It's fun and sometimes silly, made on the fly and under a tight deadline. But it's desperate too — a frenzied call for release, an ode to the love that keeps us going, and further proof that no other pop artist today can make the digital sound so disarmingly human.

The result is flat and congealed, lacking danger.

An album as wide ranging, far flung, eclectic, and richly satisfying as its name implies.

Shauf delivers a collection of tracks here that showcase exactly what made Skyline so incredible, and in turn, what makes him such a captivating artist.

Freetown Sound finds Hynes at the peak of his powers, mixing his best songwriting and production yet to powerful, purposeful effect.

This might not be the most urgent Sigur Rós album, but it'll surely be remembered as one of their most gorgeous. For a band so well known for all things beautiful, beauty for its own sake is hardly a problem.

It's rare to find an album this coherent and firm in quality. But best of all, a good half of the record will give you plenty of inspiration to channel Herring's sweet dance moves.

Babelsberg's ten songs comprise a confident, fully realized soundtrack to a quasi-fictional dystopia.

The sounds and textures contained here will not be surprisingly new to anyone familiar with Hauff's previous work, but regardless the sum of the album's parts is an entirely satisfying whole, sounding at times like the sound of a machine collapsing in on itself, but not before letting you have one last dance first.

That precarious balance between surrealism and sweetness, adept contributions and singular vision, and much more make I Made a Place feel like a must-visit destination — it's one of the best alt-folk albums to come out in years.