It’s occasionally a little oblique (“Turquoise Hyperfuzz”’s rhythmic breakdowns feel purpose-built to add a little edge to what’s otherwise the IDM version of straight candyfloss), but packs little of the clutter so often associated with µ-Ziq's quintessential-but-not-quite-essential style.

There’s a warmth and resonance to every last beat here, and so the album, while frequently propulsive, is far too lush to be harsh or impersonal. When it goes it doesn’t shut you out, it sweeps you along.

One that sounds like a veteran band falling in love with playing music and being friends again. This newfound comfort outside the comfort zone yields some truly spectacular results in the album's staggering midsection.

Sometimes, Forever is the most colorful album of Allison’s career, but once all her skeletons are revealed, that’s when she’ll reach her true peak. Until that moment arrives, this is the most convincing and complete package from Soccer Mommy to date.

If Fiasco could take the energy captured on the breathtaking second verse of "Ms. Mural", a truly fantastic trilogy-capper, and stay there for an entire project he might finally make his masterpiece; this time around, though, unhurried and easy is a suit that he wears well.

Vaxis II: A Window of The Waking Mind takes everything questionable about Vaxis I’s overall charming forays into stadium rock, castrates it of any semblance of grit, urgency or personality, and subjugates its once formidable trove of catchiness to an almost impressively bland slew of commercialised hard rock templates that, in conjunction with the record’s militantly pop production, render it a gormless caricature of everything once endearing about the band.

It successfully adds another wrinkle to her sound with the addition of sweeping string sections, majestic brass horns, and epic flourishes. It also can’t be overstated just how brilliant this album’s pinnacles are, with ‘Becoming All Alone Again’, ‘Up the Mountain’, and ‘Spacetime Fairytale’ standing out as particularly dazzling career highlights.

Perfume Genius could easily have made this as a wilfully oblique record; the reality is mercurial, intoxicating and richly creative at every turn, and you now know this. Get out there and get lost in it.

It's a dark, gorgeous, twisted, spine-tingling experience that is able to pull off such a decelerated pace because it owns that pace entirely, injecting it with haunting rhythms and naturalistic beauty.

This is a significantly more rustic album than All Mirrors, with major country and folk influences joining that album’s lush art pop sound. Even the songs which lean towards the latter style are often gentle and delicate. It’s also a record which feels infinitely more personal.

Super Champon’s genius lies in the way it brings this relatively complex subject matter down to a set of laser-sharp bangers, all supported with just enough English to resonate either side of the Anglosphere frontier.

The record’s stylistically confused (and confusing) bookends prevent the project from being a straight dream pop homerun. Nonetheless, the bulk of The Last Thing Left is essential summer listening: don’t overthink it, just enjoy the vibes.

Ultimately, Harry's House doesn’t really go anywhere or do much of anything at all. It breezes by with songs that seemed designed for the festival circuit and that are interesting and experimental enough that they’ll fit with Harry’s aesthetic without being too alienating for radio, almost as if he and his team couldn’t decide which was more important to them, so they went with neither.

Cruel Country might get a little sleepy at times, but it’s a rather impressively compelling listen, given its intimidating length. There’s a lot of beauty and feeling to be unearthed here, and the album greatly rewards further listening.

An infallibly-down-the-line no-nonsense rather-quite-good-but-not-at-all-groundbreaking psych-rock record.

It's an album that shows a band comfortable and willing to begin moving on, 70 minutes of something new enough that you can see a pretty bright future for the band that seemed impossible to many just three years ago.

This Is A Photograph is an album which aims for an impressively grand vision, but rarely hits the mark. In its less grandiose moments, though, it’s frequently successful, providing the listener with a number of lovely folk tunes.

Ethel Cain's debut album is an astonishing accomplishment; one that is as painful as it is constantly bathing in the most beautifully dreamy arrangements. Every moment serves to enhance the conveying of the record's story, and refuses to shy away from the unconventional, intense, or drawn out.

The listening experience is defined by languorous stretches between big moments, and becomes more of an exercise in patience than an engaging and enlivening journey. If it were more cohesive, more palpably moving in a musical sense, had less fat to trim, I could see myself fawning over Mr. Morale & The Big Steppers in fanboyish frenzy. As it stands, I think that in another five years I'll be wading back through this flawed masterpiece.

A delicately-crafted work fusing experimentalism and sheer sonic beauty, A Light For Attracting Attention stands proudly on its own merits as a top-tier piece of art rock, connections to a certain critically and publicly acclaimed band aside.

Endless Rooms has the feel of a transition album, with the group throwing some new ideas at the wall and seeing what sticks. There’s several new sounds and influences present on Endless Rooms which present intriguing and viable routes for RBCF to pursue on their eventual fourth record. The future is uncertain, but hope springs eternal.

This may well be the group’s most sonically diverse outing yet, for good and for ill; even on the many occasions it isn’t convincing, it often manages enough novelty to entertain nonetheless, and Nigel Godrich's impeccable production job certainly makes the whole affair easy on the ears.

We've Been Going About This All Wrong reflects on the darkest moments of her earliest work with a newfound sense of confidence and control fully discovered in the Remind Me Tomorrow era.

While it's hard not to succumb to the subtle disappointment inherent in hearing an artist you love make such a sudden shift in sound, beyond that initial disappointment is an album that is the artist’s maturest to date. An album that is, somehow, equal-parts icy and warm; which progresses, despite this contrast, with an ease that is masterful; and which, inevitably, leaves me curious and yearning for LPs 3-7.

Every song on IDKNWTHT is strong on its own merit, but when digested as a whole, the album is overwhelming in the best kind of way that stirs the soul.

Zeit is imperfect, but there’s so much to be savoured here, and aspects you won’t get from any other Rammstein album.

As it stands, Giving the World Away is a decent record with some excellent highlights, but also one that fails to live up to Hatchie’s potential. It’s somewhat frustrating, most of the time.

Overall, the journey Everything Was Beautiful creates is definitely more entrancing and vivid than And Nothing Hurt.