With the triumvirate of googly-eyed rhythms, sinfully catchy melodies and a breeziness that seems only fitting, they’ve served up one of the most auspicious debuts of the year.

While her method of intermingling a vibrant array of synthesized sounds remains from previous records, there is more musical complexity, which yields a pure joyousness that comes bouncing out. She has energised her productions with greater depth, more interplay across the stereo field.

Ssss is absorbing techno to listen to and proof that well written music outscores clever production tricks any day of the week.

Modern Vampires of the City finds the band in both familiar and unfamiliar territory, and it’s pure pleasure hearing them navigate these waters.

Even without the context of her back catalog, these songs are strong in their own right.

Thirty tracks and seventy-five minutes, Fabric 69 is a work of incredibly sturdy sonic architecture; it’s hardly inert or monotonous, yet at the same time it takes techno’s notion of repetition to what might be considered a logical extreme.

Frank Ocean might have a gutsier pen game–and Usher more moves and Miguel more sex appeal--but 20/20 is easier to fall into a groove with than any of the best contemporary pop/R&B albums out right now.

By reaching every-damn-where he could, ASAP Rocky both sidesteps this pitfall and becomes one of the year's most exciting voices.

Seabed is a luscious album that implores you to dive into the gorgeous depths of its sound and atmosphere.

Here he has never sounded more confident and purposeful, building layered and incredibly rich compositions out of his blissful loops that more than justify the length they inhabit.

The album’s brevity only adds to the allure, as it is stripped of any excess, and devoid of a single misstep. It is a distinct departure, but ultimately unsurprising in its flawless execution.

Both in its challenging nature and its status as an emblem of everything that the Motion Sickness of Time Travel project has dealt in to date, it functions, without a doubt, as Evans most accomplished release of her career and one of the more accomplished ambient albums in recent memory.

The trance-like pace of II serves to reinforce the album rather than weaken it.

Over the course of the album, we seem to hear Fohr coming to terms with the vastness of mortality, and realising that it is in itself beautiful – it is what makes life precious. With the enormity of that acceptance gradually arriving, her soul emerges, no longer eclipsed by grief, shining brighter than ever.

One of the more vocal complaints about The Weeknd's second mixtape was its lack of immediacy, which Echoes of Silence certainly outgrows.

Keepers of the Light is as much of a singular expression of the hardcore continuum as it is an exploration of it, but maybe the best way to soak in its two and half hours is as a richly constructed sound world unto itself.

Nepenthe isn’t The Magic Place, but it certainly sounds like she’s found another special site of inspiration. Thankfully for us it’s just as prodigious and marvellous as anything else Barwick has put out before.

It is him following a path of lesser resistance through the landscape, writing actual choruses and melodic hooks, and finding that there is just as much natural brilliance and artistic merit to approaching his work in this manner.

Origin of the Alimonies is an astonishing piece of work that leaves the listener breathless and euphoric. It is haunting, stunning in its ambition and scope, and a rapturous piece of art. It is beautiful, brutal and bruising. It is challenging, pretentious and uncompromisingly complex. It’s ace.

We Are the 21st Century Ambassadors of Peace and Magic delivers on the promise of Foxygen's previous material in almost every way possible, offering up full and complete songs filled with bright instrumentation and enough surprising songwriting turns to get lost in, but there's also a strong personality at its core bursting with a vibrancy that carries these songs beyond their specific musical waypoints and influences into a uniquely modern setting.

The band’s most emotionally delicate and intricate record to date.

Toledo has always been a lovably jaded ringleader, and Making A Door Less Open continues to dwell on his self-criticism and feelings of redundancy. What makes it a continuously compelling listen is how each song manages to use different sonic approaches to extract a new shade of his despondency.

While James Blake felt aloof, even ahuman, Overgrown is packed with feeling, and releases it with the smallest of gestures.

All ten of the songs here are grandiose and muscular in the great tradition of Spiritualized songs.

This is a high point in his already illustrious career; a labyrinthine and ultramodern take on hip-hop that will likely age like a Cabernet.

Abandon is one of the most cathartic, brutalizing, and beautiful experimental releases this or any year.

Their tunesmithery is crystalline, their lyricism freewheeling yet precisely penned, and their voice as evocative yet relaxed as ever.

Parks has made her most undeniable statement yet, an album full of uplifting and mesmerizing neo-classics that will fit right in the hearts and minds of the thousands it will touch.