Listeners won't walk away with a clear narrative about The Inheritors, which is designed for nonlinear exploration. It doesn't pay off all its risks—at times it gets too blurry to follow--but this album sounds like little else.

Picking up right where A Certain Distance left off, the Seattle-based producer's latest LP shows the same passion for methodical soundscapes, which are no less thoughtful for their glowing warmth.

Such uplift from dread makes Strange Weather a fitting party record for our age when so many American Dreams, lived and fantasized, are falling apart. Pass the bottle.

Aju's adventurous boundary pushes are again a valuable addition to the Circus Company discography.

It's a confident attempt to stake out a distinguishable sound within the web of influences and like-minded contemporaries the band has been linked to, including stalwarts like New Order and Radiohead, as well as newer faces like James Blake and The xx.

Chance of Rain will likely prove less controversial than Quarantine, but by no means is it a less challenging record.

You'll Be Safe Forever proceeds in this indeterminate fashion, with Locust maintaining a razor's-edge balance between comforting and disruptive sounds.

It's a different, and more unique effort [than Rooms(s)]. Moreover, the LP doesn't look outside of itself to the same extent that its predecessor did.

Admittedly, Syro will probably not win over a new generation of fans like the Richard D. James album once did, but as a continuation of everything that has made Aphex Twin compelling, it's a triumph.

As a whole, Grime 2.0 works as both an introduction and a re-introduction to a sound that's still without an official expiration date--and won't likely get one anytime soon.

Few truly distinctive examples of footwork have found their into the world lately, but RP Boo's LP goes a long way towards revealing the potential diversity and immensity of the genre.

While its age can sometimes be a bit obvious, Yessir Whatever is well put together and organized; it feels less like a blatant retrospective (or worse, a "greatest hits") and more like a forgotten beat tape.

It's lurid, it's fun, it's omnipresent across all cultures, and yet no one wants to talk about it. This is the vibe that holds Women's Studies together.

The LP's strength is in that undecidedness. When he leans too far to one side, which actually doesn't happen all that often, the album can feel mournful or facile.

Earthly Delights for some, surely, and otherworldly torments for others.

From a production standpoint, When You're Gone is a simply stunning effort, one that is continually intriguing and constantly surprising.

There’s youthful playfulness at hand on Oddments. There’s also a kind of majesty, one borne out by an affinity for subtly grand melodies, which works in juxtaposition to the album’s brief, jewel-like cuts--most of these tracks clock in at well under four minutes, and the entire LP barely reaches 40 minutes.

While it's not an impeccable album, Ada's Meine Zarten Pfoten (German for "my tender paws") does offer some pretty exciting experimentation and a few really great pop songs.

It all makes for a well-rounded and fully formed debut album by a propitious new artist we look forward to hearing more from.

Yorke’s job here is to maximise the impact of the film through sound, something he does masterfully whenever employed. ... The film itself may have done some harm to Guadagnino’s reputation as a defining director of this era. The soundtrack, however, will do no damage to Yorke’s credentials as a composer.

In lesser hands, Abyss may have collapsed under the weight of its self-seriousness. Instead, Wolfe steps into the cavernous space of her ambition and fills it with an assured collection of songs that are unsettling in their commitment to sorrow.

While the album's unique collage of what seems like vintage sounds will prompt endless "is that a sample?" debates amongst crate diggers, the pure joy offered by just listening will hopefully reveal those arguments for what they are-beside the point.

While other producers are content to experiment with tirelessly looped Amen breaks, dBridge continues to push within the tradition, often to dazzling effect.

The results are both easily enjoyable and unexpectedly refreshing.

Joke in the Hole is an unusually infectious outing for an artist whose recent work with Black Dice, although intermittently catchy, remains as unrelentingly challenging as it's ever been.

Part of what makes Just to Feel Anything such a rewarding listen is its ability to quickly shift between aerial jams and understated lulls without abandoning Emeralds' unspoken ethos.

These songs, as subtle and delicate as they are, are vivid and transporting. It’s a fully-formed album, whatever its intent, and full of quiet passion.

Mi Ami continues to explore its loose-groove, jam-band tendencies on the epic "Dreamers" and album closer "Slow," but in far more reserved quantities than Watersports, making for a much more exciting and immediately lovable listen.