This album as a whole doesn't quite match the consistent glories of such earlier albums as Hello Starling and The Animal Years, but he remains an artist eminently worthy of attention.

The influence of R&B is like a silky-smooth cloud over the proceedings, raining drops of liquid gold that permeate the music. Those looking for the energy of Da Trak Genius might be disappointed by the polish, but true footwork junkies will find shining moments worth drooling over

Nine pieces that come off even more inventive than the present company suggests.

Harding continues to keep listeners on their toes with Designer which, overall, is a unique, luminous record that's about whatever you need it to be about.

Vampire Weekend have never taken themselves too seriously (they've had plenty of critics to do so instead), and now that they're mostly unburdened from the narratives of their past, Father of the Bride finds them at their most relaxed, jovial and inviting.

It isn't inherently bad, but it isn't great either.

Deferring away from minimal guitar licks and harmonizing multi-part vocals, their new breezy and open sound is more energetic than ever, creating music that continues to reflect where they are in their lives.

Fishing for Fishies is the freest the band have sounded in a while, and the record is all the better for it.

There is not enough energy here for one to latch onto and so the EP passes uneventfully.

Grim Town is a concept in itself: it is a fictitious location, an embodiment of feeling that has been brought to life by the sentiment and memory that revolve around it. Through it, SOAK is able to explore emotion and turn it into something tangible.

Regardless of the song or sentiment, Finn's skill for detail never wavers. In that, I Need A New War ranks among his best.

Not a single cut on Oh My God feels out of place. Each song is effulgent in its composition and intention.

Tinged as they are by recent tragedy, each songs on In the End assumes a mournful, melancholic quality.

Kelsey Lu's Blood, pumping with movement and what moves us, we tiny wholes, maybe isn't a continent so much as it is a bordered body, graceful in its clunky fullness, jostling with every pothole, the cello its longing pores come to life.

Maybe Cuz I Love You isn't what Aretha Franklin would sound like, had she made a rap album, but Lizzo created a beautiful sonic journey through different eras of music, and for that, it deserves a little R-E-S-P-E-C-T.

Social Cues not an overly adventurous record, but it's the sound of a band who know their niche in contemporary alternative rock and how to deliver every time.

Life Metal retains all the traits that make Sunn O))) who they are, yet intertwined with a spark of unmistakable vibrance that lifts the spirit, even in the midst of such abyssal depths.

Taut and built upon arpeggiated synths coupled with a prominent rhythm section, the album pokes fun at our over-stimulated reality, while commenting on the struggles we face to retain individuality and authenticity.

Once fast and abrasive, Wand are softer and more thoughtful on Laughing Matter; the fuzz and distortion are no longer a main feature, but rather tools used to add layers of texture and sound alongside rhythmic guitar and evocative keys.

Raw Honey is a seductive and catchy pop record bearing its '60s rock influence openly and proudly.

The subject matter is profoundly dark, but the songs somehow come across as lithe and inviting.

Sulphur English is an extremely meditative album that requires further listens to appreciate everything that it does, one of those rare musical experiences one can have with a metal record, and it's not to be missed.

When compared to last year's Music Is, it's nice to hear Frisell in a live setting and with a solid partner: as result, it's more spontaneous, less polished and more engaging.

On V, the Budos Band give fans a new, granite dimension to their craft, while keeping things head-bobbingly and anthemically familiar.

These songs don't sound forced or half-baked, they often beg for the repeat button to be tapped. Melodically, he's never been more engaging or accomplished, because he opts for experimentation from the musicians around him, which include Irglová, rather than revert to the habit of strumming his acoustic guitar into oblivion when the energy fizzles.

With Ribbons, it is clear that Bibio is trying to take the best parts of his music over the years and bring them together into one concise, but eclectic, album, and on more than a few moments, he succeeds beautifully.

It's a super-charged R&B record, laced with throwback Motown/Philly grooves, that hits hard but fails to land a knockout blow. It seems to be a case of not being able to fully satisfy the hip-hop heads, the R&B fans and the amorphous genre-less Venn diagram in between.

She crafted something challenging, mysterious and memorable. Gorgeous was simply a by-product.