Godspeed continue to perform with a bold and alluring command and unlike their peers, a majority of their output lands on a much wider scale.

Taken as a whole though, Waxing Romantic is a warm, enjoyable listen; one that suggests Bretzer has a voice worth hearing and all of his own.

[A] beguiling, all-too-brief album.

Humble though she may be, Jlin is quickly becoming a staple within an esteemed circle of experimental, inter-disciplinary creators, with this score representing a vital step forward.

Free and unshackled - while also troubled and brooding - is a decent way to summarise this hypnotic, deceptively sparse gem of an album.

All of This Will End is an album to listen to while driving fast into the sunset, windows down, trying to make sense of the world.

Silver / Lead is a record with density but one that is also light on its feet.

Each element of Fatigue has its importance, distinguishing itself also by the prowess of some great and varied highlights.

His best, most vital album in a long time.

Smile is messy – but so is the existence that Robinson writes about. At times, that makes the album feel unguided. But mostly, this is the first Porter Robinson album that feels entirely like him. That makes for one of the most compelling pieces of art he has ever released.

Putting more ambition also means more risk taken, yet Monet and her collaborators go through it with confidence.

When it’s not a really scary record, it’s a really fun one, and most of the time, it’s both.

At 19 tracks, Weirdo presents a potentially overwhelming spread of sound, but it’s impossible to identify any flab or superfluous moments here: musically eclectically inspired, thematically deep and profound, Weirdo is a total triumph.

Overall, this is a great project bursting with genre-bending sounds and heart-wrenching lyrics that perfectly capture the times.

Sola concludes Peacemaker much as she launches it, striking a sublime balance between pop know-how and theatrical flair.

DON'T TAP emphasises that, really, he’s simply multifaceted. We all have radically different sides to who we are, and Tyler’s committed to expressing as much of himself as possible, from the cliché to the novel, the ugly to the beautiful, the cold-blooded to the empathetic.

This is a pleasant plateau he’s found himself on, and it’s a perfect launching platform for further, more avante-garde endeavours.

What immediately clicks on his newest record here, is that he’s just cracked the code on how to write a great track, as one would hope over a decade in. Choruses catch, he has natural chemistry with every feature, and he changes his flow so much he almost has chemistry simply by himself.

Lightning Dust’s giving close attention to details of composition, resisting the temptation to stretch material or ideas too thinly, has brought about an album of ambition and maturity, of subtle shades of darkness and light, of promise fulfilled.

Wonderful Wonderful is not an about-turn, not an exercise in New Earnestness, but the latest step in becoming the most concise version of themselves--it is true because it concentrates the traces of what they have always been.

This is an album that has developed from careful study of, and attention to, how sacred music could define time and enrapture the spirit in past ages; and how it still offers up its potential to a twenty-first century sensibility when treated with technology and with reverential respect.

Sure, the eccentricities of other solo efforts like Eye or I Often Dream of Trains are missing, but to complain about that would be asking for a lack of honesty that The Man Upstairs simply refuses to provide.

Tellier’s Confection is an experimental anthology. It’s not entirely what you might expect, and there’s no doubt it won’t be to everyone’s taste.

This is intelligent, knowingly silly music that should have no place in 2019. It’s anachronistic, beholden to its influences, and just a bit lightweight to be anything but a bit of a laugh. But, as this is 2019, and the real world is anything but a bit of a laugh, thank God for records like this. The world is in a dire condition, and International Teachers of Pop have given us a beautiful distraction.

While the folk-essence lies below and often comes through in its truest form, the developments are clear and passionately welcomed all across Vide Noir. Where a band like Mumford & Sons abandoned ship from their beginnings to a mixed result, it sounds like Lord Huron have managed to evolve forward incorporating electric elements in a major way without forfeiting any kind of integrity.

Potently precise and exceedingly witty, Kirby’s lyrical prowess is written all over Blue Raspberry, showcasing its sheer range from the earnest theatrics of "Drop Dead" to the quiet craving on "Wait Listen".

An album that retains much of the vitality and vigour of the band’s previous releases, but where those albums were coloured by a fresh-faced excitement and in the invincibility of youth, No Grace is the sound of band who’ve discovered that life is fleeting, so they’re taking it for what it’s got.

Where some vault tracks felt like they muddled the existing story in past rerecordings, the vault tracks on 1989 (Taylor’s Version) give it more colour – a kaleidoscope of stories and feelings that mirror the sounds heard and explored throughout.