Transverse is an exceptionally immersive, expertly captured documentation of a tumultuous performance that has already earned a place in recent history.

A record whose main theme may be death, but whose power comes from Kozelek’s vivid celebration of life.

It is certainly every bit its predecessor, but through a more meditative, contemplative use of elements it is even better.

From the evocative title on down, there is nothing about Cut 4 Me that doesn’t challenge the listener’s expectations of what R&B can be in 2013 and beyond.

XXX might just represent the most polished and fully formed manifestation of street-meets-art rap so far.

It stands out as one of the year's most demanding, lasting listens.

Overgrown is a heartening step in the right direction, and reassurance that Blake’s talents are far from on the wane.

Ominousness is woven into the fabric of Until Silence, where beauty and bleakness coexist synergistically, as though it’s impossible to have one without the other.

La Roux’s march may has slowed to a stroll, but she proves here that she can captivate at any pace.

Aerotropolis manages to navigate its concept without being crushed by the weight of it, and is a thoroughly enjoyable LP that--perhaps like Ikonika herself--will only mature with time.

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

Chance of Rain hinges on uncertainty and fluctuating pressure, not outpouring. It’s impersonal, then, but never inhuman.

The result leaves the listener with less of a sense of control and more of an experience controlled by someone who knows exactly what they are doing.

As anyone who’s spent a night lurking by the subwoofers knows, these tracks have the power to rearrange internal organs. Uncomfortable though that may sound, it’s a pleasure to experience.

Aquarius is quite a complicated and accomplished album in that it’s amplified the potential of the mixtapes, making Tinashe into an unquestionable contender for real popstar status, without sacrificing the weirdo introspective soul that made them so special.

Soused may not be the best record either Sunn O))) or Walker have released in the last few years--those accolades go to Monoliths & Dimensions and The Drift, respectively--but it’s still an endlessly compelling work, the match between singular solo artist and the pivotal group every bit as thrilling as you’d expect.

Drone albums are by their nature immersive, but it’s rare to come across one so tempestuous, evocative and compelling from start to finish as Wilderness of Mirrors.

Shabazz Palaces deserve credit where it’s due for building their sound outward; if Black Up established their status as hip-hop outliers, then Lese Majesty solidifies their place in the pantheon of rap’s oddball geniuses.

Voices From The Lake is serene and sinister, hides more than it reveals and is so entirely absorbing that you could lose yourself in it indefinitely.

Each track says something different, but with his honest subject matter and his unique arrangements constantly in focus, Snaith never loses his way.

Sandison and Eoin have produced an album that, in spite of its considerable runtime, is genuinely absorbing and convincing in its narrative sweep.

Only ‘The Seasons Won’t Change (And Neither Will You)’ feels slightly extraneous. Otherwise, Restless Idylls is all we might have hoped for in a Tropic Of Cancer LP.

I wouldn't be surprised if it ends up as the best dubstep album released this year.

Punk Authority confirms Swanson as no longer just a man with potential, but an institution in his own right.

It’s an impressive achievement--and, what’s more, one that’s likely to piss of his fans a treat.

4Eva and a Day is--modestly, but definitely--a triumph.

Packed with bold ideas and striking new forms, Da Mind Of Traxman Volume 2 is as good a testament as any to the ongoing vitality of footwork.

Krell’s most complete album to date: not because it exactly answers the question of where his position is in relation to pop--nor the question of the title, nor any questions at all--but because it perfectly captures that oscillation that has always been at the centre of his work.