Can You Really Find Me is smooth and velvety, rich like dark chocolate with the soul to match. Night Moves have truly come into their own with this record. The diversity shows an unparalleled confidence in their sound, while still having the gumption to switch it up.

Over seven tracks, Moonface and Siinai expertly pair Krug's iconic warble with instrumental propulsion that showcases a more positive and collaborative side to the team's sound.

On Furfour, Grumbling Fur prove once again that they have the chops to inhabit multiple worlds at once: they're natural songwriters, but also aurally astute sonic innovators. This record delivers on both levels.

Experienced as a whole, Mythologies is a satisfyingly rich tapestry woven by a band who've found their strengths and honed them accordingly.

With lyrics steeped in critical thought and slathered with confidently modulated vocals, Lorde is the antithesis of pop schlock, making Pure Heroine a project well deserving of the commercial attention it's been receiving.

While 9th & Walnut ranks among Descendents' best work, circumstances have made it more of a capsule in time than a harbinger of future classics from the band.

Forcefield strips down the Tokyo formula to its most basic components of guitar riffing, a strong sense of melody and a brilliant ear for unforgettable hooks, which has birthed some of their finest work yet.

For those who like their space-age folk rock with a strong sense of humility, it doesn't get much chiller than this.

The track list moves like grief itself, with a glimmer of hope before plunging back into darkness and hurt. But, as Green does so well, each track is buoyed by his smooth voice, full of emotion, and poetic lyrics that can somehow perfectly capture every sentiment.

Myths 004 is a feat of atmospheric storytelling that keeps us on our toes.

Fay has lost none of his ability to capture the wonder of life in his words.

Beyoncé is better than good, slickly packaged, created with the best of intentions yet still comes off as a postmodern mash of hubris, sincerity and gloss. It will be a hit regardless.

That Carrie & Lowell is so rivetingly lovely is no surprise; the difference is that instead of Christianity, the Chinese zodiac or American history, it's Stevens' own life and relationships that he mines here with his trademark deftness and nuance.

By continuing to pare down their approach, Guerrilla Toss have crafted one of the year's most playful and beguiling pop records, an album that can claim a place with GT Ultra at the top of their catalogue.

On Plastic Anniversary, Matmos make a perfectly indestructible album from pure indestructible chaos.

Un Autre Blanc leaves everything out there and sees him go out on top.

Sinéad O'Connor's eighth full-length album, and her first in five years, is a revelation.

The musical depth of the band's quieter writing is what draws the ear; electronics remain subtle, between Tompkins' falsetto and interplay between piano and clean electric guitars. That isn't to say TesseracT abandoned aggression entirely.

He really can write a song, and the fact that it never wears out its welcome makes his music damn enjoyable.

From‌ ‌the‌ ‌desert-blues‌ ‌guitar‌ ‌that‌ ‌knits‌ ‌itself‌ ‌across‌ ‌the‌ ‌muscular‌ ‌coda‌ ‌of‌ ‌"Real‌ ‌Pain,"‌ ‌the‌ ‌way‌ ‌De‌ ‌Souza's‌ ‌voice‌ ‌condenses‌ ‌to‌ ‌a‌ ‌vein‌ ‌of‌ ‌skyward‌ ‌fluorescence‌ ‌on‌ ‌"Bad‌ ‌Dream"‌ ‌or‌ ‌the‌ ‌latticework‌ ‌rhythm‌ ‌on‌ ‌the‌ ‌sparkling‌ ‌"Hold‌ ‌U," ‌Any‌ ‌Shape‌ ‌You‌ ‌Take‌‌ ‌is‌ ‌endlessly‌ ‌energized,‌ ‌each‌ ‌corroded‌ ‌riff‌ ‌and‌ ‌synth‌ ‌streak‌ ‌glowing‌ ‌with‌ ‌purpose.‌

While there are certainly moments of outright noisy abandon, Richter incorporates enough subtlety and tension into the proceedings to make these diabolical sound sculptures bleed with a raw beauty.

Outside Child as a whole exhibits a lust for life in spite of its trials.

Despite these four musicians' predilection towards abstraction, The Film is at its most impactful when SUMAC and Moor Mother's most obvious musical building blocks are conjoined.

Too Many Voices is a breath of fresh air for anyone who found Faith overwhelmingly claustrophobic.

The band have lost none of the piss and vinegar that's marked every stylistic diversion that came before. They're just taking those component parts to build one barnstorming monster of a record.

While the group may have dialled back the volume in recent years, they've imbued their new material with a subtle emotional resonance.

This is but another stroke of genius in a career full of them.

Easy on the ears, heavy on the heart and definitely worth the wait, High will leave you feeling as such.