Napalm Death continue to exist to push sonic boundaries and challenge dogmas, and it’s great to hear them have fun here while further broadening the vitriolic sound they’ve defined into a singular movement.

The resulting music is stunning, perhaps a little more difficult to get a handle on than Amaryllis, but offering an invigorating glimpse into new territory for Halvorson. Though more abstract than its companion volume, Belladonna’s instrumentation tugs at the heartstrings aplenty.

This is a far more reflective affair, with the lyrical gymnasium packed away

In moving beyond their avant-garde origins, the 'technopop' which comprises the latter half of this compilation has often been viewed as a descent into the lightweight, and a commercial sell-out. On the contrary, #7885 (Electropunk to Technopop 1978 - 1985) proves a mastery of superficially conflicting musical spaces.

Whilst Sun Ra's enormous back catalogue will always mean that certain aspects of his music may be deemed unrepresented on any given compilation, this collection has huge appeal for both newcomers and obsessive fans alike.

Any flaws feel minor, and they only lightly chip at this monolithic piece of work, where commonplace rap stories breathe in ways they haven’t before. The mystery is this record’s greatest strength, and it lives in every crevice, spicing up what could otherwise just be a collection of especially hard bars.

On Your Wilderness Revisited, Doyle sheds himself of the bad habits he developed as an emergent successful recording artist in East India Youth and takes on the role of the Proustian artist. He takes pleasure in and extrapolates beauty from the suburbs that raised him, and takes pains to share that beauty with us.

To even summarise each moment of Drift is a challenge. What I can say is the elements of surprise and familiarity work together to form a deep, dark and wonderful hole, unmanageable by its very nature, and beautifully chaotic. The essential ingredients of Underworld are all there.

This is Shah finding her rhythm, enjoying herself doing tongue-in-cheek domestic subversion. It's the kind of album she has long wanted to make, when not urged towards a large scale social statement, like on her Mercury-nominated Holiday Destination.

It’s all so assured, yet Fratti never returns to the same thought for long. It’s impressive for a musician who’s comfortable with her voice and instrument.

The album captures a specific kind of contemporary attention span: fractured, fleeting, slightly numb. It’s sparse, suggestive, and pointedly uninterested in conventional structure.

Outsider soul from a true original.

The collaborations are abundant throughout Reflection too and mark some of James’ most assured offerings: her skills as a producer (particularly on drill tracks) are especially impressive. Through working with other creatives from afar, James starts to arrive at something that resembles peace.

Simple Songs is the most emotionally direct of O'Rourke's pop-oriented releases for Drag City, and the least likely to distance the listener with a cruel joke or winking musical allusion.

Acid Rap is by no means without its kinks--'Favourite Song' and 'NaNa' make for a definite lull to these ears--but the heady Chicago cocktail served up on the tape's other 11 songs paints a splat of vivid colour over the city's newspaper headlines.

Each of these tracks effortlessly conjures the swirling feeling of needing to make a decision – and questioning your own being – never quite settling, always moving.

One of the most transgressive, transfixing and batshit insane albums in recent memory. It’s a rare piece of new music that feels not just unique or original, but genuinely groundbreaking.

With Lost In The Dream and his band The War On Drugs, Adam Granduciel has made an incredibly strong case that his heroes should now be considered his peers.

The Underside of Power is both the latest chapter in a long-running and universal story that seems to be nearing climax, and solid, sonic proof that Algiers are capable of not just acting with their hearts, but ripping them out and offering them up on record.

Science Fiction Dancehall Classics, with its blend of revamped urban dub and bizarre cybernetic aesthetics, proves the most suitable companion primer to Sherwood's own 2015 selective compilation, Sherwood At The Controls, Vol. 1: 1979-1984.

Moor Mother’s voice is an essential anchor on Open the Gates, but the album is more exciting taken as a group work than just the next in a long line of collaborative efforts.

For an album that is extremely paired down, it is complete in all its meditative richness and erudite honey light. Gold Record presents itself as an album of quiet epiphanies - reaching into the interior space of the quotidien and feeling around for something that is tempting to romanticise, but instead, producing it before an audience with a frankness that trumps a flourish.

Happier Than Ever is a record of many layers and nuances. It is primarily a deep dive into the dark side of overnight celebrity and the internet’s industrial-scale objectification of young stars. But the project is also is a study in loneliness and a baroque, at times almost gothic, picking apart of adolescent melancholia. It’s Lindsay Anderson directing an episode of HBO’s Euphoria. Or Edward Gorey illustrating Judy Blume.

Way Out Weather's lines and contours are beautifully rendered. But there are times when Gunn's songs don't benefit from the extra exposure, when one misses Time Off's murkier, more forgiving production.

The tracklist, and the fleet-footed manner in which Halo mixes these selections, provides an excellent snapshot of 2019 dance music, one that is being propelled by a unrelenting tide of weirdness. It never quite reaches superlative highs or lows but it ticks along tirelessly, getting better with repeated listens.

A perfectly fine release, Untitled Unmastered doesn't exist to change anyone's mind about Lamar.

Poison Season is a luxurious creation, dappled in sunlight, and summoning all the redemptive power of pop.

The resulting album, unsurprisingly enough, contains their most texturally diverse work to date.