Taking more hints from the world of R&B and soul's jazzy chord palette, Do That Again expands Malcolm Todd's horizons, mostly.

Marvin Gaye knows what he's doing on Midnight Love.

Alt-dance-pop for Death Grips listeners.

This is almost as good as soul and funk gets.

I can't really decide with this one. Innofensive modern pop-soul. There's a lot and really not a lot going on here at the same time.

Artsy, cool- but I believe it's cultural impact overshadows the actual music. Outside of a few deft experimentations, there's not really anything going on here.

"Come up and get me!" they say, while simultaneously trailblazing the next generation of alternative hardcore artists.

Deft sampling, full of texture, and most importantly loaded with energy.

It took a while to comprehend how I felt about this project- but yet again- Dijon manages to create such a surreal sound that the words to correctly explain it just don't exist.

One of MIKE's finest moments. 'Stop Worry!' is genuinely one of his best songs.

It's great. But there's nothing to this release that makes it notable in any form.

Some strong standouts on LONDON.

PlaqueBoyMax has no idea what he's doing on Five Forever.

Jordan Ward effortlessly moves you through 14 tracks that all feel like they were written in the same font, on the same day, at the same temperature. (In the best way possible)

Nothing out of the ordinary for MIKE.

Strong lines, deft sampling; MIKE can make a great record, but not without at least a little bit of bloat.

An institution of jazz-rap, it's hard to picture modern day artists within this area without The Low End Theory as their predecessor.

Stevie Wonder manages to write some of the most iconic soul music of all time. A release that feels consistent, with his trademark funky-synth-fuckery over otherwise completely traditional tunes. Timeless.

A socially aware release that's able to have fun whilst tackling more serious issues.

Kevin Abstract has no direction or clue what he's doing on Blanket.