Although there may be a few too many half-baked ideas thrown around, as tracks like the hollow "Ujala" and the clunky "Bushy Bushy" demonstrate, 808 State nonetheless come off focused, confident and delightfully wistful on Transmission Suite.

The eight exploratory tracks make VOLUME MASSIMO an instrumental masterpiece that adds to an already incredible body of work by the gifted and skilled composer. If anything, it's too short.

Grandiose in its bite, depth and soul, Champion lives up to its name.

A Blemish in the Great Light is endlessly listenable. Because it is so complex, so wrought, it loses an overarching feeling to hold it together, something that might help it read as a whole, as opposed to good songs that are very well done. It'll be a great album to drive to.

Both his darkest and cheerful record to date.

Thanks for the Dance is a fitting goodbye to a figure who, whether they've been in your life for one day, one year or a lifetime, made a tremendous impact on their craft. A beautiful reprise to a song of love or hate. The pleasure was all ours, Leonard.

He masterfully delivers a snapshot of a disjointed, vibrant and inherently flawed system as seen through one of electronic music's longstanding visionaries.

It's a beautifully understated album with subtleties that reveal themselves on repeat listens. Hyperspace isn't quite what fans would expect from a team-up between Beck and the guy who wrote "Happy," and it's better for it.

While the sound splashed across Wrecked is quite gripping (exceptionally gritty electronic that heavily works the industrial angle), the lack of distinction within, and contrast between, tracks makes it tough to get behind.

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.

Amnioverse does still err, at times, on the side of industrial and abstraction, but is anchored in a softness rich in texture and weighty with emotion.

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.

It all adds up to a cycle that is as complex as it is direct at times, describing the imbalances between moments of lucidity and desire, and what is lost or gained when one declares "let's get out of the romance."

Analog Fluids of Sonic Black Holes does not always work, but in the moments where it does, it is bound to sit in your stomach for a long time.

The quality of musicianship, lyrical content and melodies on What You See Is What You Get marks one of the top calibre country albums of the decade.

As a debut, it's undeniably a solid effort, although one that might be lacking in memorable surprises. It never reaches the highs of their hypnotic sets, but it's certainly a worthwhile listen nonetheless.

Both a departure from the expected modern/postmodern/future-possible sound he is usually credited with, but also an arrival at its very beginnings.

The only real drawback is that the album lacks the intrigue surrounding something as adventurous as their previous album. Daemon still has a lot to sink your teeth into, and fans of black metal and Mayhem should not miss out on it.

The intent, execution and expression is pure. But the ominous feel of the entire project overwhelms, in parts, with a forlorn sense of distance and dread — which appears to be the point — yet its subsuming sense of femininity, sexuality, free will and determinism paradoxically draws us in.

The album is a gem. Preemo lovingly wraps brand new Guru verses (new even to him) with his trademark production, earmarked with his iconic scratch choruses, without missing a beat.

This project, as conceived by the artist, wraps itself in an Afro-futurist stance, an approach to neo-soul that feels right at home played next to the sounds of FKA twigs or Solange. But Sudan Archives still has room to grow while she defines her sound.

Wildcard represents courage, strength and vulnerability as Miranda tells her story. The album is a timeless snapshot that measures a moment in this superstar's life.

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

Anxiety, anguish and unrest can often produce great art, but so can spiritual harmony. It's just a shame that in the case of Turnover, contentment sounds so bland.

Networker is like a clock; it never hesitates or loses its pace, and it's constantly ticking. Yet the record feels unhinged, wily and obscure — as if the clock is hanging so askew, it might just fall off the wall.

As rich and resonant as some of these synth tones are, it's ultimately an album that's more conceptually interesting than it is musically appealing.

Followup Hello, I'm Doing My Best offers up more hook-filled, crisply produced radio rock with plenty of grit and soul from Barter, who remains a compelling presence throughout.

Guv I [was] an all-around more solid record, making Guv II feel a bit more like leftover parts than an essential second act — but Cook's knack for songwriting is nonetheless clear. At the very least, this sequel is an extra show of musical prolificacy and a good portfolio-stuffer with which to chase more work as a hired gun.