Black Bananas manage that ridiculously difficult feat of changing your sound up pretty massively without the whole thing feeling like a jarring shift in aesthetic.

Nguzunguzu have always had something that stood them apart from imitators, but with Warm Pulse they are coming into their own as a reference in their own right.

With Wolf, Tyler, the Creator is exciting again: maybe not as the ringleader of the Odd Future empire, but as a producer who just turned 22.

Acousmatic Sorcery's imperfections are unapologetic and unconcerned, largely stamping all over any chances of bringing the overall experience down.

Varying in density, direction and style, albeit with some less consistent territory, it’s a modest but powerful score, even when independent from its original setting.

The combination of pop and EDM is nothing new, but rarely has it felt quite so enjoyable as it does here.

Pretty Ugly is occasionally tender, sometimes facetious; thrillingly mechanical, let down by human voices; frequently adventurous, often injudicious.

Raw Solutions is spirited, fiercely effective club music with nothing to hide.

Witchhouse appears unable to develop far beyond its basic origins, but Dexter instead hones, and in the process has produced something of a genre zenith--making slow-moving, essentially eventless music persistently compelling. No mean feat.

The Narcissist II is so compelling because it is conceptually so much more rigorous and consistent, so much richer with internal resonances than its duo-created cousins.

News From Nowhere marks a far more dramatic turn for them than North did in 2010.

It’s solid, proficient, fun--not quite transcendent, but, the sort of left turn that feels natural and uncontrived.

As an artistic step forward, Les Sins certainly registers.

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.

Untogether is a well executed record, but not a stunning one.

The whole EP is terrifyingly accomplished, there is sick genius at work in every nanosecond of detail, and it definitely makes you feel like the 21st century as per 20th century sci-fi principles is finally well underway.

There are moments of sheer beauty and reckless fun all over this record, but there’s a looming question mark over whether or not listeners will feel motivated to pick their way through the expanse to enjoy them.

Rather than the stunt-casting found in some dance-pop albums, the vocalists here exist intrinsically and organically in the songs, their vocals weaved into the fabric rather than simply wearing it.

While the new forms forged from the genre manipulation here begets novelty and, yeah, interesting music, ultimately you’re left feeling unfulfilled.... In the end, though, it’s hard to begrudge adventurousness, especially when the end product is this pleasing.

The Block Brochure is a daunting proposition and quite simply a difficult amount of music to process. This is unfortunate, though, given the sheer number and variety of gems strewn throughout.

The result is a collection of intriguing, often beautiful miniatures--gems to be cherished and enjoyed, sonic curiosities that reward repeated listening.

It's an interesting change of direction, and arguably a good one too.

It’s bleak and bittersweet, and it’s very well done.

Believe doesn't always live up to the standards of its best cuts.

Its subtle nuances reveal themselves with repeated headphone listens, and though it could use a bit of a trim, there’s plenty here to entice the listener to just lay back, lose yourself, and float.

Steam Days is a worthwhile--if slightly unseasonal--listen.

Al Qadiri doesn’t just walk the line, she strides.

Unwanted Chris Brown presence aside, All Of Me is a coherent, concise album that--hearteningly--is most characterised by its creator's overflowing wells of confidence.