As with all of Copeland's records, surprising angles and intriguing touches are strewn throughout. But this is also an incredibly fun record, which is enough reason to play it over and over.

Instead of building on the momentum of her songwriting career, Still pulls her back into her comfort zone, with promising hints of something new waiting in the spaces between.

Born In The Echoes follows the duo's formula of saving the more psychedelic tracks for the end.

It's the "electronic music" aspect of Strange Passion that's most fascinating.

As strong as Dillon's songs are, the idea that there are some missed opportunities here can't help but nag at even its strongest moments.

Equal parts rock, hip-hop and experimental, it's one of the most interesting records of the year thus far.

Rinse Presents: Brackles is a cohesive, singular statement that finds his sound truly rising to the occasion.

The album stays reasonably well-balanced throughout, straddling that fine line between understatement and being sledgehammer-esque obvious.

Stones and Woods is a frustrating body of work, with good ideas poorly realised and arresting moments interrupted by annoying ones.

The appeal of this LP lies in the adroit splicing of this aesthetic with that of dance floor techno, a combination which has the potential to be horrifically stale, sterile, smug—but ends up being anything but.

Waverly is constant and consistent in its crossing between a less exotic Dead Can Dance and a more lo-fi Fever Ray, which is certainly a captivating enough blend for a debut album.

Where their first album felt like a definitive statement, Natural Selection sounds, as so many second albums do, like a diffuse bunch of half-realised ideas.

No Sounds Are Out Of Bounds, with its stylistic and thematic missteps, too often shakes us out of this trademark groove.

With a couple of cuts hovering around ten minutes, the album requires patience but remains accessible.

Even with so few words uttered, it's a vital entry in a vast discography that constantly seeks answers, building spiritual strength along the way.

Even in the depths of despair she still managed to turn out something that feels lush and enticing. DREAMER is one of those albums people revisit for all kinds of reasons, whether they're sitting drinking wine with friends or out on a walk in need of a good cry.

On Turn Blue you can tell the duo remain integral and solidly at the core, new influences or not.

In the style of Arthur Russell, Tophat uses studio trickery to weave contrasting material into dreamlike narratives. Programmed drums morph fluidly into live ones, while samples and voices circle each other like planets in unpredictable orbit.

There's a nagging feeling that the project uses such a vast grab-bag of references to mask a lack of clear, foundational ideas. That could be slightly unfair though. Moffa and Troxler wouldn't be the first artists to take up residence in a maze of their influences, and as muddled as things appear at times, on Lost Souls Of Saturn they do some pretty striking work.

So short and concentrated, the album feels like a style exercise rather than a major work, but it nonetheless finds Cutler refining his skills and presenting the best version of his 1992-via-2020 approach yet.

The album gets off to a rough start with "Don't Leave Me Like This," whose poppy melancholy could be better appreciated if Bobby Raps's vocals weren't distorted to an infuriating chipmunk pitch. ... But on tracks like "Way Back," Moore shines, and his knack for earworm melodies, genre mashups and collaboration comes through.

His music appears to be the stuff of mid-morning TV interludes and inconsequential memories, yet it ends up plumbing great depths.

The album is incredibly rich from beginning to end, and totally unpredictable.

Listening to the album feels like opening a time capsule to the early and mid-10s, a period marked by a cheesy, over-the-top hedonism that might only be truly understood if you survived the Great Recession and saw Obama become president twice. ... It's easier to get behind Quest For Fire when Moore's dubstep influences are subtler.

This is a record that Biosphere fans will enjoy losing themselves in. Like the Wolski forest and its ghosts, Departed Glories brings you far into its unknown expanse, never showing you a way out.

It's a record that balances the hardcore continuum with emotion as she turns out club tunes touched by vulnerability.

Most tracks have a near-total lack of reverb that suffocates sentimentality without starving the record of atmosphere. As a listening experience, it's like pushing on a bleeding gum: knotty and perversely satisfying.

All That Must Be is a smooth journey from start to finish, but it too often feels familiar. In spite of a new cast of collaborators, little about the LP improves on its predecessor. What sounded unique from FitzGerald three years ago isn't quite as satisfying this time around.