I Don't Like Shit, I Don't Go Outside is an exceptionally realised and meaningful work from an artist looking well beyond turn up culture in the pursuit of something deeper and longer lasting.

It’s hard to work out whether this is an album, an EP or a playlist, and at 22 minutes long it’s difficult to feel fully satisfied and does leave you wanting more.

Three albums in, and several world tours under his belt, Bombino's music remains as powerful and vital as the day he first picked up a guitar.

It’s coherent, exciting, and strong, and it gives you an in-depth idea of how you can articulate experimental soundscapes with rough portions of sound that cause commotion.

There is a pleasing directness of intention to the metronomic drumming and the arpeggiated keyboards that would be sufficient to keep a crowd dancing but look beyond the surface level and there is unfortunately plenty to make you cringe, too.

Atomos is a very powerful work and one which could well bring modern classical music to the attention of people with only a passing interest in it, in much the same way as Philip Glass and Steve Reich have done.

Smith curated these tracks to showcase her insecurities to fans that will relate to the transparency of her work. Lost & Found is a strong foundation for the up-and-coming Smith and her R&B fused experiences. The gushing warmth of her emotion resonates into a digestible, easy listening album.

The 45 minutes of his new record are a textural deep-dive into the patterns and pleasures of the psyche, and it is both fascinating and fascinated in its results.

Six albums in, Hot Chip are still making stunning pop records filled with a barrage of dancefloor wonders that are packed with heart and soul. That's enough to show why we still need Hot Chip in our lives.

Though it’s DIIV’s most consistent record so far, a step in the right direction and a more radical a gear shift than either of those releases, the tracks on Deceiver offer only wide differences in quality and little variation in style.

It’s difficult to escape the fact that there is little to commend Ode to Joy for beyond its exceptionally competent loveliness. That is, however, no reason to completely disregard it.

She has a way of expressing herself with such brutal honesty and conviction, it can be a little alarming at times, but qualities like those only serve to make everything she touches on all the more palpable, and they are also part of what makes Sore such an impressive and refreshing debut.

The record is a lot of things and also unquestionably not, for the most part embodying an impregnable and extraordinary soundscape that fortifies itself against deconstruction, but its one truly distinctive quality is that it’s the precise opposite of boring.

[The stories] are universal and they are forgiving, and only a songwriter as soft and deft as Kevin Morby could have pulled it off so charmingly.

What has changed is that this time around is that she swapped out the usual 8-track recorder she usually used to lay down her vocal parts and instead recorded them with producer Arthur Rizk in an actual studio. Far from distilling any of the fury from her pipes (which sometimes sound on the verge of shredding themselves) the added clarity does a lot to boost the emotional wallop of her words especially on the more vulnerable moments.

If you need a good dose of enthusiastic summer sunshine then Louis Cole has crafted a superb hideaway.

It's this widening of scope, combined with such a strong sense of identity, which makes Reality Testing tick over beautifully.

Fin is a mature, if slightly restrained debut.

Impressions is a special record, coloured by climbing compositions as cavernous spaces of reflective quiet. It’s deeply feeling, and deeply felt.

The back half of tracks plays out like a rehashing of the first half more than an expansion on them, and Ribbons suffers from it. ... Still, the inviting nature of this record is well worth the time.

Despite the mechanized nature, the depth of texture on show here is astounding, and HIDE definitely know how to play with space as well as sound.

The second Drugdealer album isn’t quite the knockout it could have been, but it easily delivers on the promise of Collins’ debut. If his idea is to let this latest incarnation stick around for a while, we’re in for a real treat.

These 16 minutes from Thundercat will likely prove to be one of the year's thought provoking and most rewarding listens of the year.

Somersault is an exciting display of growth without feeling like a compromise. They might not yet be great, but this album indicates a band on the verge of a breakthrough.

The album’s strengths aren’t limited to its bookends. ‘Rainfall’ would go down as the instrumental track of the year if not for the vocal contributions of Katharina Caecilia Fennesz, which blend so gracefully in the mix that you might not even realize they’re a human instrument.

Greenwood gets the concoction right: all of the above culminate in a strong, memorable debut that leaves the listener aching for more.

Fleet Foxes return with a grand, theatrical approach to music as a whole, and although they reminisce on their grand, prog-folk glory days, Crack-Up as a musical statement is genre-less.

He has further upgraded, re-geared and honed the sound The War On Drugs have been working towards, taking the style and vision of 80s rock titans and updating it to something that sounds truly modern, but with that nostalgic haze.