The Chronic and 2001 were simply collections of great songs and the order didn't matter much; Compton, conversely, is one giant song presented as a specifically sequenced album. While it succeeds as such--a lush, expensive-sounding art rap song-cycle--it fits the Doctor about as well as a baggy t-shirt. Dre makes great songs, not great albums.

They've crafted a debut album together that proves both emotive and enchanting.

Of course The Most Lamentable Tragedy is ridiculous. It's also dumb, intelligent, heartbreaking and life-affirming.

HEALTH have diligently crafted an astounding pop record...one which could be enjoyed for the next six years, if necessary.

Unhealthy though it may be, the pain expressed certainly produced a great debut.

Georgia is an album that speaks of youth in urban landscapes, and scenarios familiar to anyone who has hung around South London long enough. It's an area that's culturally thriving, and it might have a new hero.

Thank You for Stickin' with Twig is a riotous mess of electronic alterity. Press play and take the trip.

Burhenn’s remarkable vocal dexterity that allowed her to jump tempos and genres so easily there is still alive and well on Lovers Know, yet embedded here in a dense synthpop milieu.

Yellen’s vision is ambitious and expansive, but not always easy to digest.

Green Lanes is rooted in it's own moment, passing without much incident, shining brief, but bright, and remaining charming.

Another One feels like some kind of sonic intermediary--showcasing the breezy, lo-fi approach that made 2 and Salad Days critical successes, while also offering a sample of what’s to come on future full-length releases.

It would have been great to hear the Fox and Millions show without the extra instruments to let the drummers truly shine. Nevertheless, their fury on the A side and their ability to tread the line between hypnotic and sleepy on the flip side creates a joyous, technically astute performance that rewards a patient listener.

Y Dydd Olaf is a marvellously magical mixture of elation, anger and sorrow and is very lovely indeed.

Even in busier moments, there is sufficient enough breathing room to catch each sound and instrument’s subtle exhalations.

In excelling at hoping to convey music--or in this case, a suite--with a deliberate emotional arc, Pearce has re-established himself as an auteur to be reckoned with, delivering one of the very best albums of the year in the process.

All the component parts seem present, but they don’t quite add up to a greater whole.

Much like an architect, C Duncan is an artist of creative design, and what he's produced is positively palatial.

Their best work yet--there isn’t a weak track among the 11.

DS2 is a uniformly awesome album, remarkable for the singularity of its vision, and it comes at absolutely the right time, when all eyes are on Future.

It’s the same but slightly more so. Solid and satisfying.

Much like their self-titled EP, ...Does It Again has ear-worm songwriting paired with fuzzed out production, making for an overall engaging, if one-track, listen.

Not everything on Peacers works, but when it does, it’s the sonic equivalent of driving along a beach with a summer breeze rushing right through you.

For now though, things are still at the experimental stage.

For those who are familiar with Souleyman’s work, there may be nothing particularly new sonically on Bahdeni Nami. Regardless, it still remains a dizzying and exhilarating affair, preserving Souleyman’s power as an artist and performer.

Pale Horses stands as a testament that it will be a good while before brothers Weiss and co. are long gone.

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.

Born In The Echoes continues their fusing of psychedelic head music with the dancefloor, and while it doesn’t break new ground, it’s a timely smack on the nose to the pretenders to their throne.

This is Parker's strongest bunch of songs yet.