Like all the best dreams, Ground’s Ozunu stays both bizarre and entertaining the whole way through. The folkloric house achieves nothing shy of perfection.
Dawn Richard’s Second Line is a gorgeous record featuring fantastic, strange, esoteric sounds playing with house and club conventions. It’s a pioneering record and easily one of the best of the year.
Dâm-Funk creates funk as ambience on Architecture III, the blunter edges chiseled, the song structure replaced by trance-inducing not-quite-dancefloor minimalism.
Elkka’s Euphoric Melodies is full of pulse-quickening beats and dizzying synths imbued with a sense of inclusivity for life-affirming moments on the dancefloor.
Rare, Forever may be Leon Vynehall’s most daring work, but unfortunately, the result is just too cluttered to achieve any sense of artistic transcendence.
Rare, Forever synthesizes Leon Vynehall’s musical instincts into one unique vision. Both beguiling abstract and instantly gratifying it’s as dizzyingly immersive as Nothing Is Still.
Bicep's sophomore release Isles is much more grown-up and conflicted. However, this is not to the detriment of their characteristic eclectic abandon.
Mysterious electrosoul ensemble SAULT's UNTITLED (Black Is) is a stellar, uplifting record informed by timeless struggle, solidarity, and pride.
Call Super's Every Mouth Teeth Missing is like its own digital biosphere, rife with the sounds of the forest and the sounds of the studio alike.
Jessy Lanza's All the Time is a lush and spacious collection that shows a hard-fought mental clarity, a deliberate effort to resist the instincts on display on "VV Violence" in pursuit of digging deeper into oneself.