Here, Sampha sounds comfortable and confident, showcasing his vocal prowess rather than merely living with it.

They make what is quite complex musical structures look easy, almost juvenile, and package them in shiny production gift wrapped for the masses over the airwaves or PA system or turntable.

The brew of Anything In Return is strong enough that its overly sugary moments don’t ruin the experience of the album, and it’s certainly strong enough to merit many, many plays.

So It Goes comes as close to hardcore as an album with this sonic palette can: dense, immediate, energetic, and uniquely inclusive.

Wig Out at Jagbags lands locked and loaded, ready to please the Kool-Aid drinkers among us. You’re either in or you’re out, and you already know which side you’re on. For the thirsty among us, enjoy.

Guilt Trips is legit--an EDM record that’s smart, tasteful and fun. Maybe nothing new, but pretty damn good.

The Inevitable End closes Röyksopp’s career with neither a bang nor a whimper.

Humanz, Damon’s fourth record as Gorillaz, is not his best, but it didn’t need to be. It’s a comeback record that’s less immediate and sugary than Plastic Beach, less iconic than the self-titled or Demon Days. It is a party record that sounds like it was made at a party rather than for one.

All of the songs (minus one useless interlude) had at least something worth returning to.

With On Your Own Love Again, Jessica Pratt has crafted a record that is as accessible as it is complex, two traits that she proves are not mutually exclusive.

Universal Themes covers so much ground, it can’t help but live up to its name.

There’s plenty of substance to be found here if you look hard enough.

It builds on the promise of his mixtape, extends itself into new territory, and in the process reveals some of the shortcomings of Rocky’s craft.

MCIII is, in the end, the perfect sunny day album.

But for the most part, Magpie provides us with another bundle of easygoing tunes from a band that seems to have a limitless supply.

While of Montreal aren’t exactly strutting 2007-style again, their tweaked, re-energized sound has them strutting nonetheless. And that’s what they do best.

For the most part, though, it’s a bloody great collection of songs. The Horrors do have a masterpiece inside them, and with each release it’s bubbling closer to the surface.

It’s all over the place, but in a good way. After all, when two people come together to create one identity, it makes sense for that identity to be a bit mercurial.

It’s a funny and effortless mixtape.

While Time isn’t a massive overhaul, Bear in Heaven tweaked where they needed to, and picked up a pretty neat trick along the way. The more you listen to these songs, the more they linger.

They are engaging, but ultimately don’t have the same replay-ability as the classic Bevan stuff.

Voices marks a more complete work from a duo fully in sync; in their element.

Imperfect as it might be, the album’s relentlessness is also it’s chief allure. In reality, Eagulls sounds more innovative than it probably is due to the world in which it arrives.

With Wakin On A Pretty Daze, Vile has added another seemingly effortless 70 minutes’ worth of straightforward, easygoing golden tones to his consistent discography.

With this album, Ty has proven that he’s not just another hook and single singer. He’s actually capable of creating a project that keeps listeners engaged for 16 tracks.

Dangerous Woman shouldn’t be taken particularly seriously as any kind of “maturation,” but that it still has some pretty good songs on it. Not counting the bonus tracks, there are only two outright throwaways.

Sometimes Cardi B runs out of things to say. “Bartier Cardi”, though it rips, repeats its extensive chorus five different times. “Money Bag” stomps forward with “Bodak Yellow”’s flow and sound, and in my opinion, last year’s favorite record pales in comparison to the strides she makes on Invasion… The vulnerability on display in the standout “Be Careful”, where Cardi B shows off a soft singing voice and a softer side, is a perfect example.

This record’s closest counterpart is last year’s Currents from Tame Impala. Temples can’t quite reach pop solidarity like those Aussies, but they come close enough.