This is a great album, and it's incredible to see Fernow again broadening the scope of the noise genre.

[Endless and Blond(e)] are great--but they require time and, realistically, a step-back from the extraordinary (and sometimes ludicrous) hype that necessitates Ocean’s new works be either masterpieces or a complete let-down.

Musique de France isn’t an indiscriminate smash and grab of appropriation, it’s a wonderfully organic and experimental and occasionally psychedelic record that will take you to interesting places if you’ll let it.

This album isn’t a call-to-arms or doom merchantry, but rather a poetic statement of fact--short stories of and for the anthropocene, the product of a resignation to our inevitable demise.

Jones's second album with current outfit The Righteous Mind is driving, high-energy, distorted guitar music designed to shake 2019 out of its apathetic gloom and get it up and dancing, alive and ready to take on the world.

The best Hey Colossus album to date. But to fully enjoy Black And Gold's many delights, it should be understood that this is a journey with a beginning, middle and end, and one to be taken in a single sitting.

There are some astonishing moments on At Least For Now. Clementine's voice is a force to be reckoned with--throaty, powerful, and theatrical to the point of histrionic – and his piano-playing bears all the hallmarks of unorthodoxy you would expect from a successful autodidact.

Age of sees Daniel Lopatin, like the AIs of his album, escape his digital restraints and make his most human record to date.

This experience of overcoming grave adversity and living to tell the tale exists at the thumping heart of Purple, and accordingly in the accomplished, passionate and fully mended band who has gifted it to us.

This album is an excellent opening entry into what will hopefully be a new series of releases from Kaukolampi, one which rewards returning visits to the places beyond the restrictions of both gravity and mundanity.

They've arrived at a romantic, odd, ambitious pop record that eschews musical theatricality for punchy, 40-something's take on the complexity of love from the view--and this is why it works--of one who is still, at heart, an incurable and incorrigible teenage romantic

Usually such an album would never be the place to start for a newcomer to the act in question, yet so comprehensively does this explore McCombs' multiple directions, there is a case to be made that A Folk Set Apart could be a suitable primer.

The collaboration works wonders for both artists, as the textural beauty of Poliça is expanded with the added depth that s t a r g a z e bring.

State Of Run doesn’t reinvent the wheel: it touches on the arch grandeur of Varg, the trap-leaning stutter of Planet Mu labelmates Sinjin Hawke and Zora Jones, and the deconstructive spirit of 2013/14-era Goon Club Allstars. But the trio’s attention to detail shines through, and the full-length format gives them space and time to execute their rich visions.

Track-for-track the birth of a new legend? Absolutely.

Gliss Riffer is a magnifying glass held to that opening in one hand and an opium pill twirling between his index and ring fingers in the other, egging on the impending lucid dream that's been in the works for years. He's only now offering an audacious embrace.

A 2015 update of Model 500 with a dark, industrial overcoat would be as unbearable as similarly ill-considered evolutions from other artists, and in sticking to his ground Atkins resolutely retains his strengths.

Shah’s control of the narrative makes her songs sound more confidential than confessional. She exercises the same incisive observational skills that she applied to songs about social unease and toxic relationships when she turns the lens on herself, as willing to be cutting, critical and humorous when she is her own subject.

It is these three songs [MMMOOOAAAAAYAYA, Pool Hopping and Threatening Each Other re: Capitalism] that, in their hugeness, tend to overshadow the rest of the record on initial listens. Though the remaining tracks should not be missed or dismissed because of that.

The engagement with dance music and half-improvised feel lends it an irresistible forward momentum, something that picks up pace throughout the album to exhilarating effect; the album's second half in particular creates a disconcerting sensation of constant acceleration, until it finally collapses into its closing throes and falls away.

Where Hubbert goes musically from here he may not even know himself, but with Breaks & Bone he's managed to pull himself from the quicksand of grief and cement his latest work amongst the top Scottish albums of 2013.

The music is cryptic, otherworldly, and uncanny. The dislocation of Smith’s voice from The Fall is jarring and thrilling at times.

C Joynes and the Furlong Bray have produced music that is finely considered and full of energy, amply repaying multiple listens.

Its monomaniacal refinement might sometimes challenge you to commit to its worldview, but it's an album that both demands and rewards deep listening.

The album Cistern is thoughtful and meticulous, agile and artful.

The really interesting stuff here is from those groups that barely scraped out an album before disappearing into obscurity or never even got to release a record at the time, many of them victims of being outside of what was still largely a London-centric scene.

It's not that the depth isn't there, it's just that the experience is multidimensional enough to bring forth a flatness; a sense of unity which discards dimensions.

The Arctic Monkeys have comprehensively slaked off their PG-13 pretensions and gone full-on X-rated.