The bold sophomore album from the London experimentalists is a singular work rife with ambitious songwriting and sincere, sharply-observed emotions.
Bonobo’s Fragments represents a rare step back from one of the 21st century’s leading electronic luminaries. It doesn’t bring enough new ideas.
Anz’s All Hours is one of the most exciting debuts of the year from one of the most thrilling new voices in club music. It’s music for the all-nighters.
Before I Die has a fashionably unfinished quality, something that works in electronic producer Park Hye Jin’s favor. Park makes for an ideal musical antihero.
Jordan Rakei has a gorgeous voice that’s soulful and thrilling, and his latest album What We Call Life is easily one of the best of the year.
Legendary bass-worshipper, the Bug crafts 14 earth-shaking tracks reflecting the volatility of our current socio-political landscape for his latest album, Fire.
Following six turbulent years, Australia’s Hiatus Kaiyote return with their third LP of neo-soul virtuosity, Mood Valiant. It’s effortlessly likable and rich with heart and soul.
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.
Black Country, New Road show us what a "rock band" or "rock outfit" can achieve on For the First Time. For those bands labeled as experimental, we now have an expectation and a new benchmark.