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.

rawing from many of the best aspects of previous Islands records, SIRHAS is an excellent distillation of all that Islands does best, and a return to form after 2013's somewhat forgettable Ski Mask.

Rather than sticking with what worked before, Modern Baseball's two songwriters have pushed the band forward here, keeping their music in line with their rapidly maturing outlook.

The handful of breaks from his patented gutter raps aren't enough to compensate for the monotony in his dozen interchangeable guns-and-butter records.

The musicianship of the guest artists is impressive, and Jameszoo's interpretations of their work are startlingly creative. The whole package is likely to be one of the year's best, and certainly one of its most original.

A well-rounded and buoyant album, Down in Heaven is Twin Peaks' most mature work to date and a satisfying listen, even if it lacks some of the urgency that made their past work so thrilling.

Tired of Tomorrow is both warm and cold, complex and straight to the point.

On Oh No, Jessy Lanza reveals a range of new emotions, influences and styles, further establishing a distinctive sound that blurs the lines even more between pop and club music.

"Lyrics," "Crime Riddim" and "Man" show him at his most convincing, taking aim at MC battle culture, police profiling and post-fame loyalty respectively, delivered with force no matter how vulnerable the subject matter or how jokey the punch lines might be ("My mum don't know your mum / Stop telling man you're my cousin.").

From its weighty subject matter to its incredibly nuanced production, The Colour in Anything is not only Blake at his best, but also his most personal. Blake's expanded his both his heart and his process here, making music with others outside of his laptop to demonstrate the growth that had led to this brilliant, fulfilling work.

Cult Following manages to be danceable, fun and impactful, all in a tight 45 minutes.

That lack of tension and urgency throughout stops A Moon Shaped Pool from being a classic on par with Radiohead's best work, but then, perhaps that's the wrong standard to reasonably hold an album that trades the band's trademark anxiety for acceptance, their experimentalism for elegance.

Kacy & Clayton craft timeless and detailed folk songs on Strange Country, an album that more than promises the duo's staying power.

White Lung sound both heavier and more accessible on Paradise, once again proving that there's far more to this band than meets the eye.

Taking all of 99.9% into account, it's really no wonder that Kaytranada has become one of the most sought-after producers these days. This will surely mark yet another, even weightier, launchpad for Kaytranada to head skyward, out towards that much-fabled 100%.

Will is a beautifully written work of art that finds Barwick reaching out to a larger audience, but completely on her own terms.

Hopelessness is her first album under her new name, and with that comes a new clarity and purpose to her songwriting, an ownership and authority over her artistic voice that we've not yet seen before.

It's a slow album, but through multiple listens, we're treated to the same complexities, but personal and musical, that have made him such a fascinating figure throughout the past decade.

For years, Aesop Rock has been beloved for his ambitious, loquacious lyricism, but on The Impossible Kid, he's reached new artistic heights by using that elaborate wordplay to offer us a simple yet powerful glimpse at his scarred psyche.

It's a meeting of musical minds, and the resulting electro-traditional dialogue is fascinating.

Overall, Vol.1 is a satisfying snapshot of a label that does a very specific sound very, very well.

The good easily outweighs the bad on Advancement, and at its best, it's excellent. The pair have a knack for dynamism that keeps things interesting, and their production style has a compelling crunchiness to it that manages to sound modern without laying on the sheen.

The result is a most welcome and simply terrific record from a perennially underrated band.

Domo's Genesis is a step in the right direction, but he's walking to his destination, and not anywhere near where he needs to be just yet.

The result is an album in which millions will find their own struggles reflected back to them, as therapeutic as it is utterly dazzling. If you've ever been handed lemons, you need Lemonade.

This record is less about individual musical performances and more about big, uncluttered sound.

As a standalone collection of songs, the Aladdin LP doesn't reach the heights of his recent recorded output, but it's an interesting companion piece that will please the Green faithful and fans of the film

On Sept. 5, dvsn establish themselves as the cutting edge of post-millennial soul music, electrifying, absorbing and, at their best, downright mind-blowing.