Not only is Steppington the first must-own rap record of 2014, but it represents freedom for its makers.

The remarkable feat of New Ways is the ability to both resonate with those who loved Twin Solitude, while also pushing tendrils out towards listeners in search of more versatility.

The segues on Death Jokes prove to be the highlights of McMahon's experimentation. "Joyrider," "Predator" and "Solo Tape" succeed because they are unencumbered by the weight of songwriting expectation. Unlike the fuller compositions, these interstitial tracks lean more on the side of musical vignettes.

An impassioned record that feels like their most raw, personal work to date.

Even if, at 72 minutes, it overstays its welcome a bit, there's no denying the vital talent on display at every turn.

Hella is an easy LP to get drawn into and (just like all of his other releases) it's also a joyous adventure to get lost in.

For a musician who has been leaning on the same style of ambient electronic for years, Colleen bravely reaches for something outside her ethereal comfort zone on Captain of None.

The Chilean producer has released collaborative records, scored films and released a series of incredible 12-inches, Nymphs I through IV. And yet, for all of the sonic breadth of that material, none of it quite prepares listeners for Sirens.

Preoccupations are steadying their footing here, both growing up and grounding themselves sonically.

A commendable summation of the casually cool take on house and downtempo hip-hop that has defined the work of these two producers to date.

If you're looking for a de facto greatest hits of library music, Unusual Sounds is here to provide just that.

Ma feels a bit like watching the sun slowly set: as it gently dips into the horizon, there are moments where the colours burst and excite, but mostly it's a careful and calm experience.

Breathe is Tiny Moving Parts' best work to date, and if math rock is your thing, it would be a crime to not check it out.

Ultimately, it's the divergent atmospheres and textures, the variety of the arrangements and the thoughtful song compositions by mastermind guitarist and primary songwriter Scott Hull that make Head Cage stand out.

Swear I'm Good at This is an assured debut with a unique voice, one that finds humour in catharsis and catharsis in humour.

Things Take Time, Take Time is an exceedingly nice-sounding record — but with almost no quotable zingers, it's hard not to shake the sense that something is missing, is missing.

Kelly Lee Owens is the work of an absolute natural; these are layered, atmospheric tracks that blend minimal techno, dream-pop, Krautrock and ambient drone into a dazzling, alchemical whole that defies easy categorization.

I Used to Spend So Much Time Alone skilfully expresses complex and murky emotions with clear and concise lyrics.

Boots' more rough and intimate look behind the duo's evolution and process is in its way no less compulsively listenable than the cohesive Revival itself, which would introduce Welch and Rawlings to the world sounding basically fully formed.

The outwardly fun melodies and rhythms are what define the album.

The tracks contained on Filo Loves the Acid are altogether enjoyable rhythmic excursions for fans of both Dozzy and acid techno alike to listen and dance along to.

Repeat listens uncover a musician trying to arrange these musical insights into something as affecting and creatively grounded as her best ambient works.

This influx of new voices finds Deerhoof exploring a number of different styles and sounds, all the while keeping that chaotic exuberance they are known for.

With Life After Youth, Powell has gifted us a beautiful treatise on how to think about life, relationships and what's important.

Lover hears Swift back on stable ground. Her songwriting is as careful, detailed and impressive as ever, she's nestled into a perfect pop niche, and it seems like being totally in love has let her head drift off into the clouds a bit. The best part: Lover lets fans wander off into the daydream with her.

Traces of previous collaborators and tourmates such as Bon Iver, Fleet Foxes, Troye Sivan and S. Carey can be found in these songs, along with the bright folk-pop energy of Maggie Rogers, yet Gordi stands out from her peers on the strength of her direct, melancholic voice and honest lyricism.

The album evokes a powerful sense of longing: a yearning for the connection, understanding, and beauty found in fleeting moments. In the hiss and fuzz of splintered memories and reveries, Powers draws us into a past that lingers, soft and near, just within reach.

Here and Nowhere Else is another heavy, catchy-as-hell Cloud Nothings record.