Tunes 2011 To 2019 frames the artistic development of someone whose older music sounds more inspired but is still capable of greatness. ... 12 years since his last album, we at least get a large chunk of his often incredible catalogue in one place.

"I think about it all the time" is among the most surprising moments on the record, as Aitchison sings about the possibilities and paranoias of motherhood so openly and casually like she quickly scribbled on the back of a napkin—that it comes between heaving dance floor tracks only underlines how Aitchison is harnessing her chaotic energy to the fullest, but also how real it is. .... BRAT finds the sweet spot most leftfield pop stars only dream of: keep it experimental and referential, but enjoy the party while it lasts.

A Carrollian multiverse of shapes, sounds and ideas that only becomes richer the longer you spend there. It might take some time, but it's endlessly rewarding.

Gas is the sound of a man freeing his mind and allowing it to wander. To listen to Box is to seize that same opportunity.

Biokinetics has aged so well that it could easily pass for a new album. The production level is exceptional by today's standards, and it has more teeth than much of the music it inspired, especially contemporary dub techno, most of which sounds vanilla by comparison.

The history of misogyny that followed Journey In Satchidananda complicates the serenity and innovation within it.

Beyoncé is clearly itching to experiment with her sound. This latest album may not be her most cohesive release, but it does come with a handful of well-executed surprises. ... The album falls flat when it tries too hard to immerse itself in a culture that does not belong to Beyoncé.

aya has created one of those rare sequels that manages to both outstrip and enhance the ideas behind her first album. Following up an incredible debut with something more ambitious and immediate is hard. Most sequels buckle under the weight of expectation. On hexed!, aya doesn't so much rise to it as tear right through it.

There's an intimacy here that compliments Broadcast's already close, cosy sound. Even the shorter songs bear fruit. .... It's hard not to imagine what these songs could have been: would Broadcast have kept them as-is and dove more into psychedelic folk, or would they have embellished more, and added more synths and electronics? Either way, it's a fascinating glimmer of what they might have done next.

The arresting thing about Robertson, and what makes her latest so effective, is her aversion to absolutes.

These very much sound like live performances, and they're all the better for it. Short of seeing him in concert, Spaces is as close as you'll get to hearing Frahm at his best.

Throughout Honey, the pure, raw emotion that has always defined Robyn's music is still there. Now, she's just dancing to a different beat.

Black Origami can be intimidating: it's dark, relentless, and makes substantial demands on the listener. But it's also powerful and distinctive. In the world of rhythmic electronic music, nobody else is doing it quite like this.

The Passionate Ones, ponders late-stage capitalism, loneliness and love over an impeccable blend of breezy indie pop and grainy electro-funk. Brown's deadpan baritone is loose and relaxed, and he croons like he's drawling in bed. He delivers stunning poetic refrains with heart and the kind of vulnerable confidence only developed after climbing out of rock bottom.

On Natural Brown Prom Queen, she proves she belongs to no mood, genre or period of time. Over a placeless mix of sounds and endlessly dynamic beats she comes of age, shaping Black histories into exciting futures, all while making it clear that her idea of home is wherever she decides it is at any given moment.

Listening back now, it still pumps. But it's a palatable pump, with enough hooks and vocals to work as well over pasta as in a field at 4 AM. Funnily enough, the tracks that have aged best are the ones that pump least. ... Though other remixes in the middle section update the production techniques, they don't really advance on the festival-pleasing 4/4 or big beat predictability of the originals.

On his Warp Records debut, Safe In The Hands Of Love, Yves Tumor joins the ranks of Arca and SOPHIE at the millennial generation's pop vanguard, a group whose fluid approach to music and imagery is eradicating the gap between underground and mainstream.

Whatever you want and could ever require from the progressive soul textbook is up in here. Darts, slaps, bops and most definitely thumpers. ... Renders a greater reward than we could ever envision. Voice Notes gives us just that.

Magnificently re-mastered... an exemplary introduction to the duo.

Essex Honey, with its cool, crisp textures and elliptical rhythms, is expansive and beguiling, an inviting place to rest in a chaotic year.

Loud City Song is her most broadly scoped and epic album to date.

Following shaky albums from both Yorke and Radiohead, A Moon Shaped Pool suggests that they were right to keep the faith.

Lives Outgrown is a quiet folk album, but there are elements of the carnivalesque and the sublime.

Modern pop remix albums have had a lazy streak—tacked-on features, small-minded production and recycled vocals. But Charli comes to the club with new verses, exciting collaborators and a fresh eye for her past work.

While GREY Area was a collection of great songs, Sometimes I Might Be Introvert feels like a therapeutic breakthrough. ... A body of work so rich with innovation, so broad in its influences and so powerful in its storytelling that we'll still be finding new things to love until the next one comes along.

Heaven To A Tortured Mind isn't necessarily the most dynamic release by the artist, but in its best moments, it's a heaping dose of musical ingenuity.

It is the kind of music you could imagine spending the rest of your life listening to.

The set stumbles, though, when it's at its most raucous.... When Green trusts his own downbeat instincts, though, LateNightTales feels comforting in a way few mixes do.