Arp's Zebra is impeccably produced, the result of an artist living with his art, refining it, and turning it into exactly what he wants it to be, but it is a strangely sterile, emotionless experience.
Gui Boratto's next great album isn't Pentagram, but it holds a lot of promise for his future.
On so sad so sexy, Swedish pop singer Lykke Li has created mood music that works as well as a breakup album as it does a warm-up for the club.
Tethered to no style or genre, Bernice's Puff LP exists as its own tiny universe of sound, unassuming and intriguing, a treasure waiting to be uncovered.
Jorja Smith's Lost & Found is a first album that sounds like it came from an artist who has been doing this for years and years, an artist who already has award shows and headlining tours in her rear view mirror.
CHVRCHES' Love Is Dead is an album whose makers are screaming "we're ready for the spotlight", whether or not the sentiment is actually true.
Nathan explores the hyperbolic mind of the teenager, a time bomb of unresolved emotion that can be unleashed at any perceived slight, no matter how minor.
DJ Koze's commitment to avoiding easy four-on-the-floor dance music, his unwillingness to whack at synth pads for an hour and call Knock Knock an experimental ambient album, is commendable.
It's fairly astounding just how gracefully a very small, very personal story can turn into something much bigger, as Tamirat has done here.
Bishop Nehru is a technically gifted rapper, and his talents shine brightest when the BPM gets highest.
George Ezra's Staying at Tamara's is upbeat and light to a fault, a microcosm of cheer mostly blissfully unaware of the chaotic world around it.
In a way, Pinkus Abortion Technician is a departure for Melvins, heavily hinted at by the album's very title.
