Arpo forges lush soundscapes by drawing on ASMR techniques, layering textures over the arpeggiated hooks that drive the record. A saxophone player himself, Call Super subtly peppers hazy woodwind tones throughout, elevating the record's otherwise eclectic collage of electronic soundscapes.

Interiors can proudly call itself a rightful successor to the post-hardcore classics status of their first two albums.

Here, she moves through songs about love and life that, whether because of the cavernous, sometimes tinny production or her timeless songwriting style (and often, both), feel channelled from some ghostly past where musical arrangement was simpler but emotions weren't.

The trio's intent is crystal clear here: make hypnotic murder rap that evokes a screwface and head-nod. If horror movies aren't your thing, though, Without Warning might not be the rap project for you.

On his third LP, James Holden establishes a sound wholly his own, allowing The Animal Spirits' gorgeous, absorbing and wonderfully unkempt mix of psych, jazz, folk and electronic to infiltrate the listener's psyche.

This compilation shows the lasting impact Funkadelic has had on popular culture and on subsequent generations of innovators, striking a balance between reverence for the originals and creativity from the re-visitors.

Lone's take on DJ-Kicks nails it right out of the gate, but starts to lose its eclectic melange as it pushes forward, swapping out the nuanced front half of the album with bland cut-outs that vary too little.

Belief System should clearly have been released as two separate albums; one that's a candidate for album of the year and one that's completely forgettable.

Throughout the album's 11 tracks and over 42 minutes of music, the quartet manage to brood their way through numerous artistic themes, from Bruegel the Elder to Samuel Beckett, running each through a Western American scope.

The consistency here comes in the form of non-stop, solid tracks; there isn't a bad recording on this whole album, which is no easy feat.

The band still know how to write a good "whoa-oh," and their message has been sharpened by outside factors, making it seem more vital than ever. Anti-Flag haven't changed; the world has.

Wilkinson's eighth full-length shows the musician's adeptness at thoughtful, patient compositions, but he seems to have forgotten the value of self-editing.

World Wide Funk doesn't break any new ground, but it showcases Bootsy Collins blissfully stretching out.

The Dusk in Us is another step forward for Converge, pushing their sound to new levels in a way that is uniquely their own. Although it took five years to come to fruition, the record was well worth the wait, and stands as a testament to why the band have become so hugely influential.

Anthology: Movie Themes 1974-1998 is a fine introduction to John Carpenter the musician for newbies, and a welcome re-visit for longtime fans.

This LP captures Shigeto's embracing of myriad sounds, styles and sensibilities, and while his original sound still shines through, he shows the listener that diving into new territory can have massive payoffs.

There are plenty of other highlights to be raved about in 4eva Is a Mighty Long Time's massive tracklist. Do yourself a favour: pick up this LP and immerse yourself not only in its impressive breadth, but also its practically unparalleled depth.

As a standalone release, devoid of the visual context it's designed to pair with, Rat Film doesn't always find lasting purchase, but it does in parts. ... Still, Rat Film shows off increasing nuance and range in Deacon's abilities as a composer.

Her move away from pop music on The Lonely, The Lonesome & The Gone signals a deeper understanding of the country, blues and soul genres, but there aren't enough ideas here to make it succeed.

Though highly unlikely to unseat Hometowns or Departing as fan favourites, The Wild follows in the footsteps of the band's previous album, Mended with Gold, as a very strong album that doesn't yet hold the same sentimental value as their earlier material.

Colleen continues to craft uniquely personal experimental music with a clear artistic voice, and her latest release might be her greatest achievement yet.

Like Maus's best work, Screen Memories converses primarily through its musical and instrumental affect. These songs are so clearly laboured over and full of detail that their impact as a whole, coupled with bizarre and often-obfuscated lyrics, can easily wash over a first-time listener. Spend some time immersed in their depths, though, and watch as they unravel and fill in Maus's immaculate vocal sketches.

Bizarrely infectious and never dull, this album of anarchistic yet spiritually reverent psychedelic experimental ragas is well worth checking out.

It's not only her best work, but the best amongst her peers, the sort of album that transcends the lane she was in beforehand, transcends whatever antiquated gender biases may still permeate the genre and puts her in the same category as your favourite rapper (who's now clamouring for a Rapsody feature).

Baker is careful not to glorify life's darkest moments, and certainly doesn't on Turn Out the Lights. Rather, her candid portrayal of pain is a rare and beautiful gift.

Weezer have had their share of ups and downs over the years, but Pacific Daydream finds them at their most clunky yet.

Uptempo or down, Shane's performances were maximum R&B before the term was coined.

Mirror Reaper is certainly an outstanding accomplishment in the Bell Witch catalogue. It may be their most emotionally stirring and musically ambitious record to date.