Mantasy is a noticeably self-contained work: it unfolds gradually and deliberately, full of wholly beguiling details.

Even if How to destroy angels_ are simply tweaking a long-established formula, rather than clearing the chalkboard, An Omen_ still presents a band that has mastered the task at hand.

As with Hive Mind, the record's most interesting moments are its briefest, almost as if Martin-McCormick's strongest ideas are the implied ones, the unrealised ones.

In running time and number of songs, (III) may be their shortest album, but it's also their most cohesive personal statement yet.

When times are lean, Smalhans contains just the sort of shamelessly calorific dance music that we should be thankful for.

Supermeng is a refinement of Shirach's sound, exhibiting what you might call a newfound maturity. But when being puerile and provocative is your schtick, that's not necessarily a good thing.

The changes aren't especially radical, but they're noticeable--and it frequently feels like Vasquez has nudged over a line he might have done better to shy away from.

If the album never quite reaches the tune-packed heights of 808s, the overall listen is utterly melting.

It is certainly a gorgeous production, and tracks will possibly come across differently in a mix, even if it is not quite what many will have been expecting.

Rinse Presents: Royal-T takes his biggest anthems to date--the abrasive, ferocious 'Orangeade' and the gloriously untethered 'Cool Down'--and builds on them in every direction.

Lonely At The Top has ample points to recommend it: its breadth of scope tempered by its unity of feel; the finesse of its construction paired with Blair's ear for bold sonic combinations. And yet it's curiously difficult to love.

Good Kid, m.A.A.d City impresses with its diversity and scope, but it's not just a record to admire: put simply, there's an embarrassment of killer material here.

For the most part this is a composed, nourishing pop album.

Order Of Noise [is] a meaty, satisfying listen.

In terms of its complexity and level of skill on display Breakthrough is a big step up for Bensussen.

Even when new ideas poke their way through, the knowledge in the back of your mind of how great a Terror Danjah album in 2012 could and should be sours the tight-lipped lack of fun on display here.

In its finished form, Miguel's Kaleidoscope Dream is a testament to his evolved songwriting, reverence to the past, and refusal to be pigeonholed.

For an album that, at times, is beautiful, it doesn't hypnotise you, it doesn't entrance you, and even its best moments fail to stay in your head.

What strikes you first about Album Title Goes Here, apart from the moronic postmodernism-for-tweens title, is how resolutely un-danceable it is.

This perpetual cycling through of ideas can be fascinating but also fatiguing, and it ultimately marks the record's most debilitating flaw.

For the most part, it's content to lull the listener into a state of bliss.

Space Zone keeps the bar propped up impressively high without treading back over old ground.

This CD version has some outstanding moments, and at times is a masterful lesson in dream-like production.

All things considered, this is a handsome, stately album.

Sebenza demonstrates yet again that LV are an act as admirable as they are on, on their day, masterful.

Will Happiness Find Me? is a fitful, thought-provoking listen.

Whereas 2009′s Missing Chairs carried a prissy frivolity in its floridness, Piramida is a noble, self-possessed creation; a masterclass in considered arrangement.

Total Loss is a largely dud-free album.