Ghost People is the sound of Martyn cozying up to house music and mastering it, as close to focused and standing still as a restless artist like him could ever get.

The title might tell you they're not too concerned with dance floors, but the music itself suggests otherwise.

In recent years, Stott has alternately spurned and embraced the nasty side of his sound, but on Never The Right Time, he nails a difficult balance between bass weight and pop vulnerability.

I wouldn't necessarily say Cenizas is challenging, but listeners accustomed to Jaar's more smooth and structured early work may need to persevere as he leads them through this freeform landscape

While there’s a yearning for youth about the album, it also has calibre that’s to be celebrated. Matthews’ voice, his mastery of mood and storytelling shines through, lifting this to a satisfyingly high point of achievement.

Lives Outgrown is a quiet folk album, but there are elements of the carnivalesque and the sublime.

Debate will rage indefinitely on its merits, but to my ears Rival Dealer places Burial in a new creative sweet spot.

This foray beyond the confines of UK rap doesn't leave the album feeling muddled or stylistically confused—her out-there synth rap sound remains consistent throughout, for a polished, elegant debut album that stands tall inside (and outside) the UK's rap scene.

By stripping down his sound, making it more like punk, he ups the energy levels without crowding the sonic field. It proves Schofield is as much a master of subtlety and balance as he is of feral chaos.

Even with so few words uttered, it's a vital entry in a vast discography that constantly seeks answers, building spiritual strength along the way.

The end result is unified in its daydreamy mood. What we get from each track, and from all of them together, is a mellow sense of the sublime.

Glass Swords is a place where pleasure is the only constant: it doesn't matter that he's playing with self-consciously "cheesy" sounds or untouchable genres when the songs are this good.

There's a palpable lust for life throughout the 20 tracks, but Edna is at its most arresting when Headie details his journey from custodial sentences to commercial success with unflinching candor.

Fool is the product of a powerful imagination, the kind of mind that's unburdened by assumptions and orthodoxies.

The album's mix of the everyday and the unfamiliar is deeply eerie, a world of sound in which it's possible to contemplate the disruptions of our own.

There's a fine line drawn between pastiche and surefire songwriting, and the group straddle it deftly.

Like all of Lustwerk's music, it's moody, it's sensual, it's vaguely ridiculous. It's a total fantasy—which makes it all the easier to get swept away.

Rhinestones is a skeletal, mostly acoustic continuation of this sound, gripping in its own mysterious, quiet way.

Backed by a cast of co-producers like Pearson Sound, Tensnake and Paul White, she expands her sound to fit these more bracing topics, without losing the DIY charm that made her an instant star to begin with.

Motzfeldt and Stoltenberg's subtle R&B harmonies are understated and arresting, exposing the inner sanctum of a complex emotional relationship. Believer is an album about raw friendship, personal image and collective awareness.

One of the most adventurous in recent memory.

Patience is one of Kirby's most consistent and stylistically severe albums in recent memory, mostly solo piano with the occasional vocal thrown in.

Instead of attempting to reinvent the wheel, he refines and extends his legacy, preserving the familiar while hearkening back to the uncanny moods that shroud his best ambient-leaning works.

A strange, deeply impressive pop album, and the overall mood reminds me of the mix of ennui and boundless imagination that define childhood, images flitting across the screen, a colourful window to a world that doesn't exist.

For the most part, Mantasy is a serious record that confidently takes its own sweet time.

Rhythmically, Ben UFO is giddy, ebullient even. Which is why, even at his most corrosive, he is not just a very smart "crate-digger," but also a phenomenal party starter.

This is an album about possibilities rather than parameters, and it's a highlight in both artists' recent catalogs.

As usual, Karma & Desire is a sprawling, unpredictable maze of an album, but Actress is no longer a solitary figure navigating rain-streaked streets alone. He's invited others along to zigzag with him.