An orchestral score for a remembered expanse, it casts vivid shadows but avoids rigid form.

It's due to the effortless nature of his rhythm and rhyme let the words float with direction, but it's not until you properly hone in on the syllables do you find the map unravelling, and the bigger picture coming to life that helps the poison sink in with the trap beats.

Alix is not a perfect album--Widmer and Joyner’s vocals still prove an acquired taste and while better balanced than previous efforts, the duo could still use a wider dynamic. However, it does arguably prove that Generationals’ bread and butter lies on the poppy side of the fence, this perhaps their most cohesive statement to date, and their yellow brick road’s poppy fields appear to serve only to revitalize.

Her spontaneous naivete and heartfelt vocals, while inticing, somehow get lost in these glossy, large scale and commercial productions.

While the 18-tracks teeter along the fine line of becoming slightly too long at certain points, it continues to offer an intimate compilation of her thoughts and emotions.

As a standalone document, this is a gem of an album.

I can't imagine there will be too many rap albums this year that better Injury Reserve's debut. This is a band who can achieve the same volatility and straight-up ingenuity of BROCKHAMPTON, on less than a quarter of the manpower.

It seems they're traversing into territory that may feel foreign at times. Still, each project, especially The Runner, has seen them remain true to who they are and the music they make while still managing to add a new dimension and layer of complexity to their story and vision.

The Best Day doesn’t offer much in the way of compelling us to venture forth; that is, even if we were inclined to in the first place.

The songs here beg to fall apart but are kept in tight reign by Chris Wilson's drums and R.J. Gordon’s flurrying bass while Stickles and guitarist Liam Betson slay riffs and trade licks.

Another reason to count Murphy among the best of ‘em is his ability to take a mood and encapsulate it so perfectly in the formal structure of dance track.

GINGER yields a sound that is more emotionally evolved than any album thus far. ... The result is BROCKHAMPTON have finally come of age.

Vulnerability is presented here as strength, where before it’s been masked in metaphor. It’s not that Welch isn’t scared any more; it’s that she’s made her peace with that, and in turn one of her strongest records to date.

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.

For a debut album that finds her moving away from her comfort zone as much as revelling in it, Maya Jane Coles has delivered something very fine indeed.

Samaris’s songs are just so cleverly composed and gracefully balanced, that it’s sometimes hard to pick them apart.

In all, Overyjoyed sees Half Japanese play it considerably safer than they used to, and there’s bundles of pop-rock glory to enjoy, but it’s still more than enough for loyal fans to breathe a sigh of relief.

It’s deeply personal, plaintive and emotional, and a very lovely thing.

Total Time’s earthly escapism has stars in its eyes and dirt under its fingernails.

How refreshing it is to hear the sound of disaffection and fury channelled into music as cathartic and primal as this, rather than into either the kind of disorientated rhetoric that dogs our politics or the cowardly, disengaged pap which hogs the pop charts.

At its core, What Now is a love letter to music, warts and all. About the romance, the emotional release and the sheer joy it can bring when everything feels so doom-laden.

Overall Dissolve is primarily concerned with the cultivation of atmosphere, which is strong and sustained throughout--even across the few weaker tracks--and it is a promising introduction to an artist with a clear vision and a quietly experimental approach.

Mr. Dynamite's expansive instrumental interludes sometimes disrupt the pacing and punch of the record, defying coherence, but this never seems like anything less than deliberate mischief. It’s merely a performance of the group’s own self-discovery, proudly extending and flexing their new cyborg limbs.

While Chris Cohen is by no means a bad record, the combination of muddy production value and laid-back pace can make it feel like somewhat of a drag to listen to (despite it clocking in at just over half-an-hour), and, while there are gems on here, you certainly have to seek them out.

The Wants debut is bold, daring and incredibly effective. Separating itself from the regular indie noise, Container is an album that tells a compound narrative while experimenting cleverly with fine attention to detail.

I Won’t Care How You Remember Me marks the first true collaborative Tigers Jaw album. The result is a record that feels more emotionally nuanced than anything that’s come before it, and as such feels richer, and lusher than Spin, despite harbouring thinner production qualities.

Retaining a societal consciousness, Down Tools is not so much a party record but one that surveys the damage after a storm, picking up the pieces with an increasing dose of humour as well as world weariness.

Everything here works, but that’s hardly great praise.