Islah is one of the more exciting major label rap debuts in recent years, and one positive to being a Gates fan is that you’ll most certainly never get tired with him.

Taken as a whole, World Eater makes a strange kind of jumbled thematic sense.

Lacking the hooks and spirit of subversion that framed most of their previous efforts, the songs of Shadows require patience and understanding to reveal oft-hidden strength of voice within.

Bitchin Bajas is a spa resort for the ears, with many comfortable zones under its pleasure dome.

Atomos is, to my ears, a more uneven offering than the debut, lacking the gem-like balance of its predecessor. The upside is that Atomos is perhaps a more challenging listen, featuring a broader sonic palette that contains more distinct highs and lows, both of mood and of merit.

Ignoring the conceptual background, Kannon only achieves the very cusp of the transportative, magical power of past Sunn O))) albums.

Cynics might call it selling out or betrayal, but the convenience of bringing Death Grips' innovative and destructive sound to a potentially wider audience is, at the very least, a positive thing.

DJ Earl opens himself up to new approaches, creating a rich, galvanizing sound, full of rhythmic complexity, tonal variation, and melodic intrigue. It’s footwork, but not quite as you know it, a sure sign of the genre’s rude health as it moves into its next phase.

Lazy Saturday mornings are meant to be had with this album.

The first business-as-usual Burma release.

Things just go from mad galloping gobbledigook to spongy sentiment.

Anderson’s guitar-for-the-sake-of-guitar approach eludes grandeur and self-proclamation.

I can't shake the feeling that I've heard this sort of epic music before, even from Mono themselves.

It is a strange softness that contains all in a luminescence that exceeds it.

Black Forest (tra la la) is a nice little record made by an ambitious group of musicians from whom I expect excellent things. Three or four songs here are downright wonderful, and the rest, at the very least, aren’t entirely unpleasant.

The music is great, but it's through his lyrics that Beans really heads out into the stratosphere.

It’s no "Donuts," but it’s definitely another solid entry in the Dilla canon and a reminder of how lucky fans are to have another beat tape this valuable in the absence of the man himself.

Logos is an admirably worn, carefully composed record detailing a kaleidoscope of sound.

Time & Space explodes with positive energy, emphasizing the rebuilding of oneself while the band itself builds together as a unit.

There is beauty and anguish to poring through Tyler’s songbook, a reckoning with spirits that refuse to die even as the world spins on furiously and without regard for the passages of humankind not willed or fortunate enough to keep up with the storm.

Its purpose is to cement Underworld as elder statesmen of minor-arena-filling, rather than “floor-filling,” amorphously electronic music. It’s not hip, but it’s not square either.

Interior Architecture is presented as a clear tome of mind, four slabs of endless, drifting synthesis, abstract in concept yet rich with neural networking.

While Actor’s best moments may not reach the same high points as Marry Me’s, it’s an even more cohesive effort, and one that I haven’t tired of after countless listens.

There are a number of mediocre ideas that are drawn out a bit too long.

Oddly familiar but strikingly different.

Snaith covers a lot of bases on The Milk of Human Kindness and somehow it all works.

Whether Dragonslayer is as great as any other work is almost irrelevant; it is great and it is grand, and it is all too welcome.

What Lapalux manages to do here is capture something of the mood of his time in the sonic language of his time. It's a real achievement.