Ultimately, We Slept At Last is an impressive debut that showcases an enchanting and fully fleshed-out sonic vision.

Even rushing through the time between songs so as to maintain momentum, the endless energy and refusal to stay still is admirable of Dumb. Unfortunately, the pace results in some items ultimately being left undone.

Souvenirs is the creation of a band who have to make music and like all great debuts it’s both a culmination of their beginnings as well as a pointer to the wide open road ahead.

This isn’t a bad album by any means, and so surely deserves recognition as the work of a completely separate entity to Real Estate. Yet, too often, Ducktails actually sound like a side-project.

A subdued record tied to no one setting. No matter where it is, Somewhere is a place of subtle beauty to find solace in.

For Ride to produce such a strong album is a wonderful thing. To compare this to their first two albums is silly--bands and entire genres were formed off the back of those records--but does Weather Diaries sit up there with them? Absolutely.

He has not made a classic here, but he may have made an album which allows him to do so again in the future.

With There Existed An Addiction To Blood, Clipping have artfully seized upon the viscera of the horrorcore genre, creating an album which is both disheartening and sonically intriguing. It is yet another successful experiment for the group and one of the eeriest examples of modern hip-hop to date.

In fully owning their anguish and collective past, present and future, HEALTH have yet another essential record to their name - one which fully and flawlessly embraces savagery and sincerity in equal measure.

LP5 is an album which simply affords itself space to breathe. Whether it be in Ring’s confidence in allowing a guest artist to fill the immediate musical landscape or the deference paid to the traditions of both electronic and acoustic music alike it all works together to create one of Sascha Ring’s most comprehensive releases to date.

Last Night... is an album that you can look to as a fitting memoriam of what made Wild Beasts truly great: fearlessness to be who they are, and do it all on their own terms. Even their retirement.

Unreal is a labyrinthine effort you’ll find almost impossible to not get lost in.

Elliott’s latest body of work, the fittingly titled ICONOLOGY, is a taut collection of slinky, self-assured hip-hop that fuses throwback sensibilities with the rapper’s trademark futurism.

The songs are much more complex and nuanced than one might expect on first listen and, like most good music, it is an album that deserves deeper comprehension.

As a whole, it’s just a shame that on Means, FEWS’ originality seems far between.

The closer Perhacs stays to her original organic vision, the better The Soul of All Natural Things sounds.

Love Is Free sits strangely in the canon of Robyn. It’s euphoric, and like every great Robyn anthem, there’s a cry-while-you-party type sound on the mini-LP that’s intensely emotional but wields an undeniable kinetic streak.

Algiers really fucking mean every note, and their radical politics soak through each track like petrol through a rag. If they overdo it from time to time, so be it – how nice it is to hear a band giving a little too much of a fuck, rather than not enough.

The eclecticism yields some misses along, like the paper-thin reggae of “Cliff Hanger”, and the Bronson’s one mode just about outstays it’s welcome by the album’s final moments, but he remains colourful, deeply entertaining and stubbornly unchanging.

Amorphous and difficult to pin down, this undefinable hypnagogia is the lasting identity of Chanel Beads, and Your Day Will Come is the vessel from which it was formed.

Belong would still be getting outright praise along with their slightly more subdued self-titled debut. Previous work aside, this is still an intricate, technically awe-inspiring LP with many narrow pathways to explore.

With buttery vocals and perfectly-paired suave jazz instrumentals, - Ugh, those feels again is slick in its depiction of enigmatic love. While it may not be breaking boundaries sonically, the album’s saving grace is Aalegra’s thoughtful lyricism in which she encapsulates fear, loss, heartbreak and self-growth with tenacity and an empathetic tone.

A darker, rougher beast than either of its predecessors, it’s a highly expansive piece of work.

where Neuroplasiticy brilliantly built on Cold Specks' debut and breathed life into every track, Fool’s Paradise excels at singular moments and seems to struggle for air and space overall.

It’s an exercise in flexibility, in collaboration and support of new, largely unknown talent. It speaks not of a stale money grab, but of a conscious desire to stretch and explore his talent, exploring outside of his comfort zone, and to make not just another Streets album.

This is an album both challenging and gorgeous-sounding. If occasionally over-ambitious, it is always attention-grabbing, and very often risk-taking in the most positive sense.

There is nothing better than hearing an artist reaching the apex of his power. Trentemøller arrives at that point with this album taking its rightful place amongst the best electronic albums released this year with comparative e

Not everything that he turns his hand to here comes off, but when it does, the results are characteristically spectacular, and do more than enough to preserve St Germain’s reputation as an electronic musician of rare complexity--one who’s made a trademark of pulling off convoluted ideas with crispness and flair.