The album’s sonic homogeneity lends it an air of sameness at first blush, but the details burrow their way out on subsequent listens; the guitar work, in particular, offers fleeting doses of delightfully understated melodicism to counterpoint the slow industrial grind beneath.

Their quality of music and precision is outstanding, and while referencing so many of our favourite artists from eras been and gone, they perform and compose in a new light with such integrity that makes them a step above the rest.

The album drifts by comfortably and could benefit from a few surprises, both tonally and musically. However, there are definite standout moments, such as “Oh Oh” and the bouncy “Angel”.

In the end, Ununiform has it's peaks and valleys.

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.

Ultimately Mulvey’s record is once again intriguing, engaging and diverse. A record that is equally accessible and rewarding on multiple listens, the softer side of pop can take plenty more of Nick Mulvey's music.

With Strange Peace, Metz have created an album that still largely has one foot rooted in the best of their past, but sees the other stretching forward into a future that is just as riotous.

Despite such intense themes, the record manages to stay light and joyful, revelling in the potential that music and dance possess to draw communities together and find resolution.

A complete throwback to everything that’s been missing for over twenty years, INHEAVEN have blown the cobwebs off and are ready to kick some life back into a stale scene.

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.

It’s pretty and smooth; the shimmers and reverb of their earlier records have been compressed into a concentrated essence of what made them great in the first place.

Hiss Spun is a hypnotic, cyclical work that becomes transformative with repeated listens.

Though it may seem ironic that for all the glitches, warps and pops of their earlier material, Mount Kimbie find themselves gravitating towards the simplest of beats, Love What Survives is a close examination of how rhythm can define and alter our perceptions of electronic music.

Each track comes with a reminder of how trauma makes monsters of us all, but in the centre of it all Danilova’s strong, clear voice is the will to keep going.

What really sets Concrete and Gold aside from the rest is that you don’t feel this one has been written with stadiums specifically in mind.

There are a few moments that miss their mark--recent single “Someone” has a forced keychange that belies its soaring effortlessness--but for the most part, Lovers is a slick, listenable debut with a strong sense of direction and poise.

Once the record's over, you'll feel like you’ve been dropped in a dark part of town after being left heartbroken--which is exactly what music like this should do.

The result is an album that's uplifting without stumbling into the saccharine-dosed forced jolliness that particular word might bring to mind.

He is a rare talent that we must cherish and allow to scratch what ever creative itch he wishes to. With I Tell a Fly, Clementine proves he is indeed an artist of extraordinary ability.

Before the Applause is a shattering listen, a confrontational record which violently switches genre with each song but somehow works marvellously. It's hands down the craziest album you will hear this year.

The arty fusion of cabaret, baroque and psychedelia somehow places it between Beach House and more recent Fleet Foxes, but does not always make for the easiest of listening.

There’s a reason he's thought of as one of the pioneers of electronic music; he manages to create more than just simple sounds--instead, there’s an idea that the big picture is far bigger than you’d ever care to realise.

It's one of the rock albums of the year, and if it is the case--as is rumoured--that it's their last, then it's also a perfect swan song.

Try Not To Freak Out is a decent album, but on the whole, there’s really not a great deal to say about it, unfortunately.

Like the rest of Ranaldo’s work post-Youth, this is a record that suggests that he was perhaps always the member of the band that had the most traditional songwriting sensibilities, and this is once again a thoroughly solid alt-rock effort with just enough of an adventurous slant--particularly, the flashes here and there of glitchy electronic textures--to please casual fans of his old outfit.

It’s a record which blossoms with this kind of randomness but it rarely looses soul and groove. Forget the Superfood of old, because this record is different for all the right reasons.

It's a beautiful piece of work from an artist who is destined to walk among Canada's elite singer/songwriters.

If Half-Light feels a touch scattershot, it’s likely because it’s the result of years of his creative energy being pent-up on the road with the band when he’d have much rather been at home in the studio, and it doesn’t dilute the emotional resonance of his best lyrics here, which are a world away from the coy collegiate that Koenig presents as.