Wave[s] is a clear indication that Jenkins is expanding his sound and stepping away from expectation as he prepares his debut album, The Healing Component. But in the meantime, he's established himself as an artist with even more to offer than many predicted

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

E·MO·TION demonstrates how little improvement could be made on her sharp, consistent songwriting abilities. These are perfect pop songs; a few more rare glimpses of their rougher edges would make them all the more spectacular.

The band have played it relatively safe, changing little from the upbeat pop-punk formula established on 2014's Wishful Thinking, but have still managed to cram some undeniably catchy moments into this new set.

Skeleton Closet is an album of songs that are thoughtful, catchy, carefully hopeful.

Everybody's Coming Down feels both focused and purposeful, something not all albums can lay claim to after a band's nearly decade-long absence.

Unfortunately, the lack of quality choruses leaves something to be desired.

Recorded in just ten days, Morning World stands as Teen Daze's most effortless work to date, coming off thoughtful and patient without ever succumbing to the burden of "style."

While Detox seemed poised to erode Dre's sonic reputation, Compton, reputedly his last record, instead solidifies Dre's already ironclad claims to all-time status. Not only does Compton make you forget about Detox, it also makes sure you won't ever forget about Dre.

Every song manages to fit very well together without sounding too similar.

At its best (the haunting "Ashes," the provocative "I Ain't The Girl," the killer cover of "To Love Somebody" and the title track), Faded Gloryville is a tour de force. Too bad the two weakest songs ("Run A Muck" and "Rundown Neighborhood") appear back-to-back, temporarily breaking the spell at the midway point.

Between her typically deft hooks, the thematic cohesion and the efficiency of it all (five songs, 20 minutes), Love is Free marks another gem in Robyn's recent, diamond-studded catalogue.

While I Declare Nothing wastes no time solidifying a ruthless groove and builds on its own breathtaking walls of sound, it's album closer "Friendlies" on which Parks and Newcombe shine brightest, a four-and-a-half-minute bliss-out that could soundtrack a pro-hallucinogen PSA.

Overall, Ashes And Dust is undeniable proof of Warren Haynes' growth as a songwriter and an affirmation of his continuing successful eclecticism.

Though some fans will no doubt be put off by the band's new direction, anything more than a cursory listen reveals that HEALTH haven't made some great leap into the pop void. Rather, they've more fully embraced something that was always inherent to their music in the first place.

Written, performed, and produced solely by the artist, Barnes' debut is a percussive gem saturated with guttural synths. It's a distinct piece of electro-pop that deserves close listening.

Whipple's previous PAN release, the Scythians EP, hinted at the greatness to come from this Janus club night co-founder, yet was a little too short to really demonstrate his true power. It took a full-length release to truly suss out the immensity of M.E.S.H.

The vocal harmonies on Weirdo Shrine are eerily perfect, fading in and out of the driving instrumentals.

This gloriously woozy record is era-ambiguous and the sonic equivalent of a contact high.

Its sparseness allows the listener to reflect, in the time and space, on the moments of staggering beauty in the poems.

Repeated listening makes it hard not to see the album as some sort of quasi-confessional mini-masterpiece, and if not that, at least another example of his increasing strength as a songwriter.

It might not be groundbreaking, but it's the kind of album that easily stays in the car's CD player all summer long.

With Radiance and Submission, the Montreal musician attempts a serene matrimony of the two musical sides that struggles to strike a balance between stimulating and stale when it comes to the record's overarching sound.

You won't hear a more open hearted, impassioned and lyrically rich roots album this year.

Production-wise, the record includes what are easily some of the least memorable instrumentals that the trio has ever worked with in comparison to their catalogue of freeleases, though the continued emphasis on minimalism gives the rhymes room to breathe.

Whatever Scott has gone through on an emotional level, Woman finds her at a life stage where she seemingly maintains a balance between optimism and pragmatism, a worldly perspective that informs one of her strongest full-length efforts in a minute.

At ten tracks, Blood is a more focused and refined effort than 2012's Mercury Prize-nominated Is Your Love Big Enough?, building on what we've come to expect from Lianne La Havas and surprising us with new directions.

It may have taken a few years, a couple of misfires and a different stylistic approach, but Joss Stone has re-asserted herself with this fine effort.