Government Plates doesn’t strive to be a defining post-Epic statement, but it finds Death Grips fascinated with the possibilities offered by its sound and pushing it breathlessly forward.

As the trio continue to remould and refine their craft, Mess, an album fuelled by impulse, demonstrates their ideological core hasn’t moved an inch.

This is Diamandis’ break-up album in more ways than the romantic sense. She also severs ties with popular expectation, and the end result is regressive rather than revolutionary.

It builds on the promise of his mixtape, extends itself into new territory, and in the process reveals some of the shortcomings of Rocky’s craft.

Sunlit Youth does feel more indebted to contemporary indie bands like Young the Giant or Phoenix than their previous records, but it’s also a fascinating snapshot of the band during an inevitable transitional phase.

20/20 is a total blast. You have to hand it to Justin Timberlake. Few pop artists have the skill and bravery to make such a stunning mess.

What it really lacks then is quality control and what it requires is a good deal of patience but, despite the occasions when it falters, elsewhere it’s consistently good, and sporadically brilliant.

The record is a bit too downtempo to be ideal party music, but it’ll make a killer soundtrack for your walk home from the party.

There’s good reason to think that some of the more middling fare on The Way and Color is no more than growing pains.

It does not need your analysis. It only wants to be listened to in order to convince you, with its sweeping aural dreamscapes, that Postiljonen can hold their own among the heavyweights.

They have crafted a sound that is new for them and unique in its context, but that falls neatly into what we have come to expect from a trio whose power and creativity runs consistently unchecked.

For a band that creates as rabid of fans as Beach House, this b-sides collection is a welcome addition to one of the best independent catalogs this decade.

Like John Hughes crossed with David Lynch crossed with John Waters. Pom Pom recalls similar vibes in bursts, and at its best conjures even more striking colors and passages.

Unlike the best of the Notwist’s output, Close to the Glass isn’t emotionally nourishing, primarily because there’s no real sense that anything is at stake.

It is certainly a solid and promising debut from a richly talented MC with the potential to help others with his music in the same manner his forebears inspired him.

Mine a little deeper, and all of a sudden, Another One is the most technically refined album DeMarco has produced.

This is an enthralling, stunning, deeply emotive album that perfectly marries understated electronica to sublime vocals and melodies.

It’s when Nightride decides to shift gears in the latter half that the outing gets really exhilarating.

Even in ending on a starkly depressing note, Heads Up is a strong, evocative record that solidifies Warpaint as one of the genre’s most creative and entertaining.

The blip-bloops and motorik groove of “Dear World”, could’ve easily slotted in as one of the better tracks on Hesitation Marks, and then there’s the contrast between hearing the digital diary entries in the verses of “The Idea of You” with the exploding choruses (aided by Dave Grohl). But nothing here is truly great.

Teeth Dreams is nowhere near the best Hold Steady album, but it shows the band aging in a direction that fills us with… hope? Perhaps that’s all we can ask for.

It is a diffuse album, constantly but immeasurably changing its shape and diverting itself when you attempt to grasp it, like smoke. Warpaint’s epiphanies are minor, its surprises few, but the general immutability alludes to vision rather than a lack of progress.

Cheetah is still his best release since his return to the music scene. If you’re looking for something groundbreaking, you’re probably going to be disappointed, but this is still one of 2016’s best electronic releases, and a worthy addition to the Aphex Twin canon.

It is an album far less fun than her previous ones, but that’s the point: Allen’s a bit tired of fun, and isn’t afraid to admit that “fun” can sometimes be the source of your troubles.

Five tracks, two very good, three just good, and three remixes, one worth your while, and two that don’t fight to be heard by anyone other than fans of the band.

It’s a funny and effortless mixtape.

There’s honestly no real low moment on Life of Pause, but then again, low moments were never this album’s problem. The problem is that there’s really only one high moment.

Banks’ debut, sometimes promising and even wonderful, could have been revelatory.