He's turned in an electronic album that’s full of character without resorting to robot costumes or Pharrell bloody Williams.

Deceptively inventive, darkly melodic Simon & Garfunkel and (Elliott) Smithisms. [4 Sep 2004, p.72]

At 16 tracks ‘The New Toronto 3’ could be accused of being overlong, but it is an immersive experience, a deep dive into Lanez’s psyche.

The band artfully showcase their musical knowledge to create a project which marks a clear distinction for the largely instrumental band. With ‘Mordechai’, Khruangbin have at once expanded their horizons while rooting their latest project in a sound they’ve made their own.

While they mainly hit a balance between shifting symphonics, subtle keys and pyroclastic guitar, sometimes--such as on "Plainclothes," a ballad/disco/punk-funk/noise jigsaw--there's just too much going on.

Endless Boogie justify indulgence via countless glorious shut-eye air guitar moments that nod to the Groundhogs, Canned Heat, the Stones at their tuffest.

This collaborative foray successfully breaks new ground in terms of Marshall’s solo work, further ensuring that ‘Space Heavy’ will assume a lofty standing in King Krule’s already glowing discography.

This is an album that sits well alongside classics such as 1987's 'You're Living All Over Me'. In other words: a genuine monster.

‘Shlon’ allows Souleyman to lift the curtain into his culture, showing his artistry and why exactly he’s one of the most sought-after producers in the world. To pigeonhole him as a wedding singer is reductive.

As ’80s revivalism hits its self-fellating peak, it’s a pleasure to hear an album that knows escapism isn’t dressing up like a fucking unicorn--it’s shutting your eyes and screaming until your throat burns.

Serene on the surface, but disturbed deep down.

Tinged with Grandaddy and full of hooks that twinkle like the diodes on a robot from 1984, this is an obscenely enjoyable return.

For what it is, for what it does, for what it represents and for exposing the idiocy of people who only care about 'what it earns us', then, a truly, TRULY great pop record.

Lux Prima is a hypnotic listen.

You could accuse Liars of abandoning all of their high-art concepts and otherworldly thoughts so they could secure their place on a tour of America's enormodomes with Interpol. Well, you could if this album wasn't so perfect.

The album is best listened to in full, with the cinematic orchestral passages linking the songs together and acting as a respite between each of the break-neck pop bangers.

The absence of original guitarist Jim Martin is soon overshadowed by just how focused the record is.

Okkervil River comes into its own when he forces some particularly oblique and unique strategies into practice.

The album’s bittersweet introspection is complemented by samples of audio recorded by her and her documentary-maker dad.

It’s an album brimming with audacious leaps, and they land most of them.

It is that rarest of things, a record so particular to Björk's own artistry that no-one could ever hope to replicate it.

The record’s barrage of barrelling noise is linked by stuffy interludes of piano (‘Prelude III’) and strings (‘Chandelier Shiver’), meaning the quintet only narrowly avoid coming off as pretentious. But when Eva sings “I held the arrows/I pulled the strings” on calm, clear-headed highlight ‘Opalescent’, the emotional strength at the heart of Rolo Tomassi shines through.

Lighting Matches is a record that makes Bedford sound like Hollywood. Whether he gets there on this record, time will tell. But there’s enough class and promise to at least meet his ambitions halfway. He knows what he’s doing.

This is, primarily, experiential music, meant to be enjoyed communally at their ear-splitting live shows.

‘Ugly Season’ might be indulgent, but Hadreas is still able to weave in the tender and immediate songwriting that made ‘Set My Heart On Fire’ so engaging (just as he wove his experimental streak into that record).

It’ll take time to see if it becomes a standout in her discography, but this boldly brazen record definitely makes a statement.

‘Hallucinating Love’ cherry-picks fresh blooms and euphoric alt-pop melodies to enhance what we already know and love about Maribou State.

The album’s lyric booklet is very bare, offering little explanation. Sometimes this spare approach works, sometimes not.