With Action Bronson, he's continuously put out solid bodies of work, whilst never compromising his character. Mr. Wonderful may not be the strongest debut he could've released, but for a rapper that probably doesn't measure his ability by studio albums, neither should we.

Pared-down arrangements place O'Brien's exceptional songwriting at the forefront of each track. His voice and words, a paradoxical mix of worldly weariness and childlike delivery, are still present, and as enduring and endearing as ever.

He's far too savvy to stagnate. And as long as he keeps making records like this one--so palatable they might be guilty pleasures were they not so rooted in pristine indiepop--his music will remain relevant.

Much of the album treads familiar ground, not only to long-time listeners of Fort Romeau, but for any fan of the more minimalist side of House.

This album is about the layers that play out in a minimalist way. Each brush stroke, each note, is purposeful. This album doesn't scream "listen to me", it gently draws you in.

It's hard to determine the highs, lows and fluctuations of the record. That's not to say that the record all sounds the same, but without the visuals that such music seems to promise it can be difficult to remain engaged.

This album is perhaps even more ambitious than its predecessor and, unlike East India Youth's debut, finds the artist stepping out from the shadows to produce a stunning, transformative electronic record.

Ultimately, Ivy Tripp is the best record in Crutchfield's discography, but her rise is undoubtedly continuing. Where she will plateau remains to be seen, but she is already making her mark as one of America's premier songwriters and she shows no signs of stopping.

You will hear better records than The Scene Between this year; none will put a bigger smile on your face.

The result is that, after a succession of disappointing pastiches, the boys have gone back to the good old days, and reawakened a three-headed monster.

Genuine, life-affirming innovation is hard to come by, but you recognise it when it asks more questions than it gives answers. I challenge you to find an album that's less intended for straight-up consumption.

Barnett's emotional candour on Sometimes I Sit and Think, and Sometimes I Just Sit shows us that sometimes she brushes off her mistakes and sometimes she dwells on them--just like the rest of us.

Fantasy Empire is the sound of a band modifying their sound rather than totally changing direction and whilst their spontaneity may have been tempered by their new ways of recording, their intensity and creativity remains very much intact.

There's plenty to like about Strangers to Ourselves; it's just that it genuinely baffles that an LP as sprawling as this can have so many different ideas, and so few new ones.

With Kintsugi, the cracks in the Death Cab veneer are undoubtedly visible, shiny or not. While many of the tracks fall flat, the vestiges of their prior form--confession and melody and, ultimately, charm--will likely still be evident enough to keep fans enamored. 


III will bring a needed meditation if your day was rough. All it takes is the antithesis of a pop song to snap you back into reality, but III will hold your head close while it has your attention.

Throughout, the vocals are natural and organic which allowed an artistic endeavour like If I Was to even take shape. Growth is the life force of any artist. If I Was is proof of this.

A true musical blessing, extraordinary stuff.

FROOT is her strongest album to date.

It's catchy without sacrificing heft. It's a behemoth, but also sounds meditative. Furthermore, it doesn't seem to compromise so much as heartily invite the genres it dives into.

Though undoubtedly a handsome package, the experience of Lease of Life as a whole feels somewhat insubstantial; its impact is elusive while any real staying power is negligible at best.

Mercurial moods aside, it's a beautifully produced record and almost addictive with the allure of its sublime tones, percussive arrangements that draw you in and an attractive coil of guitar phrasings.

As a project that's substantially left-field in good kid m.A.A.d city's wake, To Pimp A Butterfly will almost inevitably receive more acclaim from critics than fans. Kendrick clearly wasn't focused on retaining the considerably large audience he attracted with its predecessor, and the album's stronger for that. Proving that he'll keep us guessing for years to come, Kendrick has truly solidified his place in rap history with this album.

Although standalone each song is catchy and refreshingly danceable, they don't add up towards a comprehensive album experience. There is little variation from the funk-punk, and slower tracks like 'Flee!' feel weaker to their more nervy counterparts.

Carrie & Lowell is just the latest in a long line of unimpeachable achievements.

For anyone willing to stick around long enough to listen, they are richly and endlessly rewarding.

Sometimes challenging, other times comforting, Inventions encourage you to step inside the imagination portal and dream.

Even at five tracks, Heterocetera is a strong, visceral electronic record that maintains its ambition and intensity from beginning to end.