It’s a wonderfully dexterous and developed body of work that gives more of itself with each listen.

The whole experience is charmingly woah-dude in a way that never feels caricatured or insincere. Great pleasure is taken in employing the familiar apparatus and codes of psychedelia and, well, making them psychedelic again.

[Endless and Blond(e)] are great--but they require time and, realistically, a step-back from the extraordinary (and sometimes ludicrous) hype that necessitates Ocean’s new works be either masterpieces or a complete let-down.

Ultimately, this is an astonishingly consistent album, particularly given Segall's work rate.

Crystal Vision does indeed seek to provide a kind of crystal vision, resulting in a more direct love-letter to the ties that bind, and in doing so Fake weaves a sense of body, community and connectedness.

Each of the eighteen tracks gathered on Livity Sound absolutely wrecks on a big rig, ripping ragged from the speakers, turning small basement rooms into packed, humming resonance chambers and settling teeth and viscera rattling.

It turns out that Transangelic Exodus is a fitting title, then, for an artist emerging from his early career and crafting a new project that’s satisfying and unique.

This is a great album, and it's incredible to see Fernow again broadening the scope of the noise genre.

[Endless and Blond(e)] are great--but they require time and, realistically, a step-back from the extraordinary (and sometimes ludicrous) hype that necessitates Ocean’s new works be either masterpieces or a complete let-down.

Musique de France isn’t an indiscriminate smash and grab of appropriation, it’s a wonderfully organic and experimental and occasionally psychedelic record that will take you to interesting places if you’ll let it.

From Kobza’s “trad walz inflected” ‘Bunny’, released in 1971, to Ihor Tsymbrovsky’s wonderfully melodramatic chanson, ‘Beatrice’, from 1996. Along the way we get gems like The Hostilnia’s marvellously doleful rap, ‘Sick Song’, from 1992 and work by the remarkable Svitlana Okhrimenko from Sugar White Death.

This album isn’t a call-to-arms or doom merchantry, but rather a poetic statement of fact--short stories of and for the anthropocene, the product of a resignation to our inevitable demise.

‘Alreet?’ feels as raw and as singular as any record Lewis has previously made. And it might be one of his best too, which I appreciate is a bold claim.

Jones's second album with current outfit The Righteous Mind is driving, high-energy, distorted guitar music designed to shake 2019 out of its apathetic gloom and get it up and dancing, alive and ready to take on the world.

The best Hey Colossus album to date. But to fully enjoy Black And Gold's many delights, it should be understood that this is a journey with a beginning, middle and end, and one to be taken in a single sitting.

There are some astonishing moments on At Least For Now. Clementine's voice is a force to be reckoned with--throaty, powerful, and theatrical to the point of histrionic – and his piano-playing bears all the hallmarks of unorthodoxy you would expect from a successful autodidact.

Age of sees Daniel Lopatin, like the AIs of his album, escape his digital restraints and make his most human record to date.

While track-sequencing can edge towards clunky territory at times, How You Been is a colourful murmuration of percussive, glacial synths and exploratory jazz interplay. Exciting, expansive and entrancing, SML are evidence of the supergroup’s enduring power.

This experience of overcoming grave adversity and living to tell the tale exists at the thumping heart of Purple, and accordingly in the accomplished, passionate and fully mended band who has gifted it to us.

This album is an excellent opening entry into what will hopefully be a new series of releases from Kaukolampi, one which rewards returning visits to the places beyond the restrictions of both gravity and mundanity.

More harmonically rich than earlier releases where bass and kick reigned, this album places vintage organ motifs at its linguistic centre. These recurring textures make the record distinctive, not only within Moss’s discography but within contemporary dance music at large.

They've arrived at a romantic, odd, ambitious pop record that eschews musical theatricality for punchy, 40-something's take on the complexity of love from the view--and this is why it works--of one who is still, at heart, an incurable and incorrigible teenage romantic

The tracks are skeletal, repetitive and fuzzed-out to the point of abrasion; it could be an easy mistake to think they’re disjointed sketches. In truth, they cohere like a shattered mosaic of memory, pieced together into a triumphant chronicle of growth.

For the listener, its rawness can feel akin to ambulance chasing or scrolling the sidebar of shame. But in the fishbowl of fame that Allen has existed in since ‘Smile’ came out in 2006, it’s also a massive eff you to the prurient media class. .... Here it is in all its hypnotic, looking-at-a-car-crash glory: vomiting up beautiful couplets of utter emotional desolation and romantic hopelessness.

Usually such an album would never be the place to start for a newcomer to the act in question, yet so comprehensively does this explore McCombs' multiple directions, there is a case to be made that A Folk Set Apart could be a suitable primer.

The collaboration works wonders for both artists, as the textural beauty of Poliça is expanded with the added depth that s t a r g a z e bring.

State Of Run doesn’t reinvent the wheel: it touches on the arch grandeur of Varg, the trap-leaning stutter of Planet Mu labelmates Sinjin Hawke and Zora Jones, and the deconstructive spirit of 2013/14-era Goon Club Allstars. But the trio’s attention to detail shines through, and the full-length format gives them space and time to execute their rich visions.

Track-for-track the birth of a new legend? Absolutely.